Traditional Building, December 2008

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THE PROFESSIONAL’S RESOURCE FOR-PUBLIC ARCHITECTURE m DECEMBER 2008

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Custom Casting, Restoration and Preservation

3858 * allenmetals.com

800-204

WRITE IN NO. 1005

On the cover: Completing an 18-year renovation project
(overseen since 2000 by Water Sedovic Architects),
Aurora Lampworks of Brooklyn, NY, restored the original
Victorian-era lighting fixtures at New York City's Eldridge
Street Synagogue. See page 80.

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www.traditional-building.com

WWW.TRADITIONAL-BUILDING.COM

ontents December 2008

A Commitment to Community 10
Sustainability and urbanism are at the heart of Boston-based Goody Clancy’s place-making
and preservation projects across the country.

By Kim А. O'Connell

Feature:
Show Time 14
Conference Director Judy Hayward previews the upcoming Traditional Building Exhibition
and Conference, scheduled for March 12-14, 2009 in Boston.

Recent Projects:
Restoration: Community Outreach 16 |
Samyn-D'Elia Architects of Ashland, NH, led the New England community effort to |
restore North Church, Portsmouth, NH, а skyline-defining tower.

New Construction: Classical Shrine 20
La Crosse, WI, is the home of a new church, Our Lady of Guadalupe, which combines a
Tuscan exterior with a high renaissance interior. River Architects and Duncan G. Stroik

Architect directed the seven-year project.

Restoration: High Aspirations 24
Following a devastating fire, the restoration of St. John the Divine Cathedral in New York City
led by Polshek Partnership Architects moves closer to completion.

New Construction: Rejecting Modernism 28 |
St. John Neumann Catholic Church in Farragut, TN, called on HDB/Cram and Ferguson |

Architects of Boston to design a new traditional church.

Restoration: Gothic Adventures 30
Church of the Advent, a Boston church with a foresighted Victorian design stayed open
through years of thoughtful restoration led by Vance Hosford of West Townshend, VT.

Book Reviews:
The Stone Age 116
Stone Conservation Principles and Practice, edited by Alison Henry
Reviewed by Raymond M. Pepi

Тютре L'Oeil: Italy Ancient and Modern, by Ursula E. and Martin Benad
Reviewed by Nicole V. Gagné

Houses of God 119
Harriss Guide to Churches & Cathedrals, by Brian L. Harris
Reviewed by Nicole V. Gagné

Windows of Wonder 120
English Stained Glass, by Painton Cowen
Reviewed by Annabel Hsin

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ТгісКіпе (һе Еуе, Italian Style 118 |
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Urban Development 121
Building London: The Making of a Modern Metropolis by Bruce Marshall
Reviewed by Will Holloway

oR RTE ROSNER

The Forum:
God is in the Details 122
By Ethan Anthony, AIA

Departments:
Advertisers Index 34 PTN Newsletter 27 Calendar of Events 91

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CLEM LABINE’S TRADITIONAL BUILDING 3

SOURCELISTS

Religious Buildings

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Sourcelist Special Reports:

Interior Lighting: Eternal Light 80
The restoration and replication of original Victorian-era lighting fixtures completes

an 18-year synagogue project in New York City's Lower East Side.

By Lynne Lavelle

Domes: Tiffany on High
At Chicago 5 Cultural Center, а 38-ft. dia. Tiffany dome containing approximately

103

30,000 pieces of glass has been restored.

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By Neal Vogel
Sourcelists: |

EHscoricalProducts:Showecase-- да СЕК н ыы ек 2 ረ 36 |
LN 51
КЕГИ MOSAICS ችው МЕСТ а ን ገ... O ce 54
SUIP Ure ec 全 58 |
Ecclesiastical Furnishings & Specialties ................................... 60 |
BOGS SC OSE Нағауғатен oo ЕРЕ к PO e ee ee e de ርመ 62 |
Windows & Window Hardware ........................................ 70
WO 75
DECOLAV Ра ане о а еа а НАЧ АН A 76 |
qs coL eI ሮመ እ ጋ ጋት MM суза Lr ሪው ባሮ кнн КИК ያውን wie OS 78
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Forged ሰሮ Wrouphit-Metalwork i. cnc tes ee уз УС rec te E E E 87
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Меш OO fini ааа СЕ лл euo ИИ 94
SIC ENOORIS o6 зат E er d qe Ss ae жыт оН 98
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Steeples Domes ee прое 0-9 ee rode IERI es 2 - 106
ЖОМЕ Е л sors fis I ር ገ ጋ መ ጋና: КЕТ 109 |
SON авио eec C" ccc tr аа с p a a aa 110
Specialty Brick: A Morar wi ANS но аео. 112
WOOLEN ያያ... መ 2 9... ድ ОМС 114

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| Coming in February 2009 - Traditional Building’s seventh annual Guidebook, a comprehensive, up-

_ todate listing of suppliers of traditional products and services. To make sure you are listed, go to
__www.traditional-building.com/free_listings.htm and submit your information. The deadline for submit-
. ting information and photos for the February 2009 Guidebook is December 12, 2008.
| | For information on advertising in the issue, contact Sean Aalai, 202-339-0744, ext. 107, |
_ Saalai@restoremedia.com.

4 CLEM LABINE'S TRADITIONAL BUILDING

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ROFILE: GOODY CLANCY 5

утта

Ф ОП to uni

Goody Clancy takes a rigorous approach to designing buildings and neighborhoods
that have a strong sense of history and urbanism. By Kim A. O'Connell

Above: Goody Clancy's work on Boston's s а work of architecture, the Monsanto House of the Future was about as non-traditional
storied Faneuil Hall in the early 1990s fea-
tured the restoration and repair of many
aspects of the 1742 building. In some
cases, because of the lack of appropriate
preservation technologies, the firm merely entirely of plastic, with four curvy modules radiating out from a central column.The house
stabilized certain areas and sought to “do

no harm.” Windows and plasterwork were drew more than seven million visitors, who marveled at its then-innovative microwave

just two areas of special concern during the y :
restoration. Photo: Steve Rosenthal oven, molded one-piece bathrooms and video telephone system.

as it gets. Designed by two professors from the Massachusetts Institute of Technology (MIT)

and displayed at Disneyland from 1957 to 1967, this futuristic house was made almost

Below: From its Boston headquarters, Goody Of the million dollars that went into the house, reported The New York Times, 90 percent was devoted to research into
Clancy has turned its attention to place- plastics technology and construction. “Тһе house is not a model home meant for mass copying,” the Times wrote, "but a
making and preservation in cities and towns
across America. Sustainability and urbanism
are important concepts to the firm's principals с 3 5 s <
(I to r) Joan Goody, David Spillane, Roger Goldstein late Richard Hamilton — formed a partnership that would eventually become Goody Clancy, a Boston-based firm that 15

and Jean Carroon. Photos: Goody Clancy known for its work in historic preservation and traditional design.

composite of advanced ideas intended to challenge the thinking of homeowners, designers, builders and equipment suppli-
ers? Somewhat ironically, the two architects responsible for the house's ultra-modern look — the late Marvin Goody and the

"The House of the Future was
quite a fascinating building, and some
of the components are part of the nor-
mal building technology of today, such
as the prefab bathrooms," says firm
principal Joan Goody, FAIA, who vis-
ited the building with Marvin Goody
after it was built and later married him.
“What’s fascinating to me was this
interest on the firm part in a sensible
way to build, and how to make a
building material viable, which led us
to appreciate traditional building in
the New England area. Although we

10 CLEM LABINE'S TRADITIONAL BUILDING www.traditional-building.com

ciel E" - р СФЕ
The roots of Goody Clancy lie іп the Modernist design of the 1957 Monsanto House of the
Future, which was on display at Disneyland for ten years. Founding partner Marvin Goody
(standing) and project manager Robert Whittier (seated) applied a rigorous scientific
approach learned at the Massachusetts Institute of Technology to determining the viability
of novel building materials such as plastic. Photo: Goody Clancy

do a lot of contemporary work, studying traditional buildings has given us a more skep-
tical way of looking at new systems. Just because it’s different doesn’t mean it’s better?”

Today, more than a half-century later, Goody Clancy is a multifaceted firm that
employs more than 100 architects, preservationists and urban designers. Their work
has ranged from large new civic buildings like courthouses to the restoration of
nationally significant landmarks like Faneuil Hall and Trinity Church in Boston.
They often design and restore academic buildings and work with scientists to cre-
ate state-of-the-art research facilities and laboratories. The firm’s planning practice
has developed strategic visions for dozens of communities stretching from Maine
to Texas and is currently leading efforts to create a comprehensive plan and zoning
for New Orleans. Sustainability continues to be a deep focus for the firm, which
employs more than three-dozen people who have become certified as LEED-
accredited professionals by the U.S. Green Building Council.

"We're rarely asked to build something brand new on a greenfield site with no
context," says Goody. "A building is often in a historic district, or it's on a college
campus that has its own tradition. It might even be a contemporary building, but it's
part of a larger complex of buildings and spaces. We're always sensitive to context."

Civic Pride
Until relatively recently, a city block in downtown Wheeling, WV, resembled
countless others across the country: Located in an older part of town, the build-
ings were sound and retained a strong sense of place, yet the block was littered
with vacant lots and lacked vitality, The most prominent
structure was the Wheeling Federal Building and U.S.
Courthouse, dating to 1905 and designed in the Beaux Arts
style. In the mid-1990s, Congress had appropriated funds to
restore the historic building and construct an annex, but the
funding was partially rescinded in ongoing budget negotia-
tions and the project languished. Eventually, the U.S. General
Services Administration revived the project and hired
Goody Clancy to head up the design team under the aus-
pices of its Design Excellence Program.

The most visually arresting aspect of the new Wheeling Court-
house addition is a wall of glass covered in a repeating pattern of
the Great Seal of the United States, which acknowledges the
seriousness of the building’s mission, albeit in a light, airy way.
Photo: Anton Grassl/Esto

www.traditional-building.com

The firm’s addition to the circa-1920s Dorchester District Court-
house in the Boston area features a new portico that interprets
the classical Corinthian order in a more modern, streamlined fash-
ion. Photos: Anton Grassl/Esto

In Wheeling, WV, the firm designed an 87,000-sq.ft. courthouse annex that complements
the historic original building and is connected to it through a stunning glass-enclosed
atrium. Photo: Anton Grassl/Esto

Working in association with HLM Design, the firm designed an 87,000-sq.ft.
annex that complements the massing and proportions of the historic building
while offering a vibrant new facade to the streetscape. A four-story, glass-enclosed
atrium links the 1905 structure to the addition and serves as the new entrance for
the entire complex. The most visually arresting aspect is a wall of glass etched with
a repeating pattern of the Great Seal of the United States.

"We as an office are very much committed to urban values, to the city, to
public spaces, to common meeting grounds for all aspects of the citizenry,” says
Goody. “This naturally leads to projects like courthouses, which are one of the
meeting places between the public and the government. You want these buildings
to project authority and dignity and you also want them to feel open and acces-
sible and transparent, because what goes on in there has to be transparent."

In Boston, the firm designed an addition to the circa-1920s Dorchester
District Courthouse that reinterprets the traditional design of the original build-
ing. For the portico, the firm worked with sculptor Ann Sperry to create a series
of column capitals that emulate the classical Corinthian order in a stylish and more
streamlined way. Brick and granite masonry lend suitable heft to the building, but
ample windows allow in natural light as well. “We purposely designed it in a way
to feel like it belonged in the neighborhood,” says Goody. “At the same time, with
the interpretation of the Corinthian column, to the person who walks by and sits
on the steps, it feels like a courthouse.”

Learning Spaces

Given the firm roots in MIT, it is perhaps not surprising that much of Goody
Clancy's work takes place in academic settings. The firm has designed new classroom
buildings or additions, as well as numerous residence halls and dining facilities,
on such campuses as Georgetown University, Harvard University, Washington
University at St. Louis and Dartmouth College, among many others. Although the
buildings vary from site to site, the firm always finds subtle ways to inflect toward

CLEM LABINE'S TRADITIONAL BUILDING 11

—„ — ш
— € Г

Тһе new McDonough School of Business at Georgetown features a large, glassy, light-filled atrium flanked by two more traditional volumes that recall the Gothic verticality and

Georgian symmetry of the rest of the campus. Drawing: Goody Clancy

а campus’s historic core while remaining utterly contemporary and technologically
advanced. At Georgetown, for example, the new McDonough School of Business
features a large, glassy, light-filled atrium flanked by two more traditional volumes
that recall the Gothic verticality and Georgian symmetry of the rest of the campus.

At Harvard’s Austin Hall, an 1882 law school building designed by the icon-
ic architect H.H. Richardson, Goody Clancy was tasked with a major rehabilita-
tion and restoration, which would provide improved accessibility. The challenge
was that, in addition to the inherent mandate to protect Richardson’s classic

ге 人 |
A landmark project іп terms of sustainable preservation, the firm's work at the circa-1870s Trinity Church in

Boston both restored historic features and created a brand-new space called the Undercroft, which is heated and
cooled using an energy-efficient underground geothermal system. Photo: Peter Vanderwarker

—— መ — =

12 CLEM LABINE’S TRADITIONAL BUILDING

Romanesque design, the firm had to maneuver around an existing tunnel system
and rigid egress points. “It was a very tricky building,’ says principal Roger
Goldstein, FAIA, LEED. “We explored lots of options with the Cambridge
Historical Commission.” Among other interventions, Goldstein adds, the firm
ultimately developed an exterior lift system in which an elevator drops into a pit
in the ground, virtually disappearing from view and preserving the historic
appearance of the building.

Research facilities may pose the greatest challenges of all. In addition to the
normal constraints of designing contemporary buildings that
honor their historic contexts, research facilities and laborato-
ries must also adhere to very strict technical and scientific
demands. The firm has designed several labs and research cen-
ters at MIT, as well as other universities. This work ranges
from a careful renovation of а Brutalist І.М. Pei-designed
chemistry lab at MIT and the David Koch Biology Building
there, which was built with MIT’s signature limestone but
updated with large glass and metal panels. Among other fea-
tures, the biology building’s interior is designed to be flexi-
ble, so that spaces can be shifted to accommodate laboratory
needs. Energy conservation was also a major objective, and
the building includes several green features such as occupan-
cy sensors to control lighting. The latest project at MIT is the
Brain and Cognitive Sciences Complex, a world-class center
for brain science. The building, which straddles an active rail
and transit corridor, has been certified as LEED Silver.

“With research buildings, whats fun is
with really smart people, some of whom are very challenging

ou're working

to work with — they know exactly what they want or don’t
want,” says Goldstein. “The technical complexities also make
them interesting, and the overlay of the increased emphasis
on sustainable design has rejuvenated this work even more.”

Enhancing History

In addition to its work in such historic contexts as college
campuses and urban downtowns, Goody Clancy
on several iconic historic structures that are regionally and
nationally significant. Projects have involved assessments,
restorations and rehabilitations, and the firm is often tasked
with updating historic buildings with modern mechanical
systems or new technology.

In the early 1990s at Boston’s famed Faneuil Hall, for
instance, the firm developed a restoration plan that made new
allowances for accessibility while preserving the original fabric
of the 1742 building. The mammoth effort included the repair
and replacement of deteriorating plasterwork, the restoration
of historic lighting, and the removal of inappropriate interven-
tions. The firm also restored the building’s beloved windows,
installing interior storm panels with laminated glass to protect

— 58 — interior spaces and provide a thermal barrier.

With a building as old and sensitive as Faneuil, some-
times the best move is to simply protect the structure from
further decline, says Goody. “Although its mostly brick,

has worked

www.traditional-building.com

Like Trinity Church, the firm's recent sus-
tainable restoration of the 1930s Byerly
Hall at Harvard also relies on a geothermal
heating and cooling system, as well as a
compietely renovated interior that includes
several sustainable materials such as low-
emission paints and carpeting. Photo:
Anton Grassl/Esto

there’s a belt of brownstone around
the middle of Faneuil Hall and it had
really deteriorated,’ she says. “There
was really no good brownstone repair
methodology, and we came to the
conclusion that the best approach was
to just stabilize the material and then
wait until someone would come up
with a repair system that works.
Basically, to do no harm.”

But Goody Clancy’s preservation
practice is not simply waiting for the
development of new technology; its
employees are also actively involved in
creating new approaches to historic
preservation, working with such groups
as the Association for Preservation
Technology International (APTI), the National Trust for Historic Preservation, and
US. ICOMOS. “I feel very strongly that part of the responsibility of our practice
or any practice is the sharing of information and a dialogue with other profession-
als,” says Jean Carroon, FAIA, LEED, the firm’s principal for preservation, who has
been prominent in the growing effort to achieve greater alignment between the green
building industry — and particularly the LEED system — and historic preservation.

"I'm pretty confident that the greenest thing we can do is reuse our existing
buildings,” say Carroon. “There is a cultural memory that even mediocre build-
ings provide that I find very interesting and reassuring. It’s my touchstone when I
get discouraged, when I think the green world is too much about achieving a plat-
inum rating.’ The firm strives to achieve a balance between environmental sustain-
ability and historically accurate and sensitive preservation, whether the solution fits
handily into the LEED checklist or not. Few projects express this commitment so
elegantly as the firm’s restoration and addition to Trinity Church in Boston, a
national historic landmark designed by H.H. Richardson.

Built in the late 1870s, the church is known for its remarkable collection of
stained-glass windows and murals, designed by artists such as William Morris and
John LaFarge. In addition to restoring the church’s historic features — including
stained glass, paint and statuary — the firm designed a 13,000-sq.ft. addition below
the main church that transformed a basement crawlspace into the Undercroft, a
vibrant new space for meetings and gatherings. To provide air conditioning for this
new space and the restored church, the firm installed a geothermal cooling system
with six wells driven 1,500 ft. into the ground next to the building. Geothermal
systems are energy efficient methods of heating and cooling that rely on the
earth’s relatively stable temperature to maintain comfortable interior spaces.

More recently, the firm completed a sustainable restoration of the 1930s
Byerly Hall at Harvard that also relies on a geothermal heating and cooling sys-
tem. Although the historic exterior has been preserved, the interior has been thor-
oughly updated with low-flow water fixtures, low-E glazing in the windows,
paints and carpeting with low volatile organic compounds, and occupancy sensors
connected to the lighting system.

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Working with many other firms and agencies, Goody Clancy is now engaged in the development of the Unified New Orleans Plan,
the first large-scale document to address recovery and rebuilding plans for the entire city since it suffered the devastation of
Hurricane Katrina in 2005. The plan includes the development of a new mixed-use downtown neighborhood, the replacement of
public housing with new housing, and new commercial centers. Drawing: Goody Clancy

www.traditional-building.com

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"Its an interesting and exciting time in preservation and architecture,”
Carroon says. "There's a lot of 'greenwashing' out there, but the U.S. Green
Building Council and the LEED system have jump-started a lot of technological
changes. We have more sophisticated conversations with engineers and manufac-
turers and more choices in how we're caring for and updating buildings.”

Planning for the Future

Every Monday morning, the employees of Goody Clancy gather together for cof-
fee and muffins, listening to their colleagues give brief presentations about new
and ongoing projects. "One week we may hear about a particular laboratory or
historic building, and the next week it's a discussion of our citywide plan in New
Orleans,” says David Spillane, AICP, RIBA, the firms director of planning and
urban design. “But these presentations always highlight the common themes that
link every aspect of our practice.”

One of those themes is maintaining a strong sense of civic engagement and
community, whether through the restoration of a landmark building or the devel-
opment of a comprehensive plan. In the last 15 years, Goody Clancy’ planning
practice has grown from two or three people to nearly two dozen. The firm has
worked on a wide variety of planning projects, from neighborhood master plans
to mammoth citywide vision documents.

Recent efforts include the UrbanRiver Visions project in Massachusetts, a
statewide initiative that engaged citizens in the development of plans for 14 down-
towns and urban riverfronts ranging in population from 1,500 to 150,000. The
plans grew out of one-day workshops that brought together a range of stakehold-
ers. "Some plans have involved big initiatives,” Spillane says, “but sometimes these
workshops helped people discover that if they just talked to Joe from Public Works
and trimmed three branches from the tree across the street, people would have a
view toward the river. Very often the barriers to progress are people’s inability to
talk to each other, and doing that built the confidence to take the next steps. These
are now empowered communities."

The firm is now engaged in the development of the New Orleans Master Plan
and Comprehensive Zoning Ordinance,
which is building on post-Katrina recovery
planning to establish a 20-year citywide frame-
work for preservation, growth and resilience in
an era of climate change. This project repre-
sents the first time that new zoning districts
and regulations will be developed to reflect the
policies of the master plan, making it easier to
implement the changes needed to revitalize
this unique city. “Our projects most typically
engage a very diverse range of people,” Spillane
says. “That’s essential to our success. We bring
ideas and understanding and knowledge about
place-making with us, but our process relies
heavily on learning from the community.”

At first glance, it may be hard to under-
stand how the firm that once designed the
Monsanto House of the Future can now be
installing geothermal wells at Trinity Church,
or to discern what a Brutalist laboratory build-
ing has in common with the 9th Ward in New
Orleans. Carroon speaks for her colleagues
when she says they all have a common thread.
"On the surface it looks like we do wildly dif-
ferent projects,” she admits, “but they all have
this commitment to community. It’s all about
making spaces where you can interact and
bring pleasure to people. I think we're all hope-
less idealists at heart.” тв

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CLEM LABINE’S TRADITIONAL BUILDING 13

Show Time

The Traditional Building Exhibition and Conference returns to its origins.

s the Traditional Building Exhibition and Conference (TBEC) goes
back to the site of its first show, the Hynes Convention Center in
Boston, where it was launched in 1993, Tiaditional Building maga-
zine decided it was time to take a look back at some of its histo-
ry, while also looking to the future. Founded by the husband and wife team
of Ellen Glew and Steve Schuyler, the first Restoration Show, as it was
called, drew a large crowd, anxious to see traditional building products —
items that could not be found in any other venue. Today TBEC is the largest
show in the country devoted to traditional building products and services.

“Т formed a company with RAI of the Netherlands and the first
show was in December of 1993,” says co-founder Ellen Glew.
"Initially, it was called the Restoration Show. We didn’t do a show
іп 1994, so the second show was also at the Hynes Convention
Center, in February, 1995. I wanted to get into the first
quarter,’ she explains. The third show was held in late
1995 in San Francisco.

“Back in 1993, there were hardly enough prod-
ucts to fill the floor,’ says Steve Schuyler. “When we
first did the show, there were probably a quarter the
number of products for traditional applications. The
show and Clem Labine’s magazine did a lot to cre-
ate this market. Clem Labine devoted an entire
issue of Traditional Building magazine to
the show and also ran full-page four-
color ads promoting it, at no cost.” {

In the early days, the show was the ነ ፪፪
only place to learn about traditional Vm
building products and services, and it E
focused both on homeowners as well m
as professionals. The exhibits and the
conference programs offered two
tracks — one for homeowners and
one for professionals. "There were
huge crowds for some of the sessions.
There was nothing else you could go
to. Ours was the only game in town,”
says Schuyler.

In 2000, the show was sold to
Restore Media, LLC, which also acquired Old House Journal, Traditional Building and
Period Homes magazines. The name was soon changed to the Traditional Building
Exhibition and Conference (TBEC) (www.traditional-buildingshow.com) but the
message and the essence of the show remained the same - the importance of his-
toric preservation and traditional building and the availability of information about
companies supplying products and services for this industry.

The industry has grown and matured and many now turn to the web for
information. “Тһе show has evolved to be much more concerned with the bigger
picture issues of neighborhood and urban planning,” says Glew.

Responding to these changes, Restore Media has updated its websites, includ-
ing the sites for Traditional Building magazine (www.traditional-building.com) and
Period Homes (www.periodhomes.com) and for the show (www.traditionalbuild-
ingshow.com). There are also many, many more products and sources of informa-
tion for traditional builders and preservationists. The TBEC is still the largest trade
show іп the U.S. devoted to this industry and it continues to draw more and more
people, especially as the downturn in the economy encourages people to seek new
sources of work and income.

As the show enters its 17th year, Judy L. Hayward, Conference Director since
2004, looks to the future. She is also executive director of Historic Windsor, Inc.,
and its Preservation Education Institute, having worked for the Windsor, VT, non-
profit since 1982.

Hayward has been a leader in developing historic preservation building skills edu-
cation throughout her career. She has worked on contracts and grants for the National
Park Service, National Center for Preservation Technology and Training, National
Trust for Historic Preservation, U.S. Justice Department, the Vermont Division for
Historic Preservation, and others to produce educational programs on topics as diverse
as accessibility and historic preservation, building craft education, and bridge repair.
She is a co-author of The Americans with Disabilities Act: A Self-guided Training Course for
Historic Preservation Commissioners. She is a member of the Windsor, VT, Design Review
Commission (a certified local government (CLG), a past president and current secre-
tary of the Preservation Trust of Vermont, and secretary of the Fire Safety Institute.
Hayward was also recently recognized by the Preservation Trades Network (PTN) for
25 years of innovative and distinguished accomplishment in preservation education
and contributions to the traditional trades.

How is the TBEC different from other shows?

This is the largest trade show in North America dedicated to historic preservation
and traditionally inspired new construction. We have 125 to 150 exhibitors. This
is the one show that focuses on the business aspects and provides business-to-
business information on making sales. And, it provides an incredible networking
opportunity.

14 CLEM LABINE’S TRADITIONAL BUILDING

Tours of historic neighborhoods in Boston will be offered during the show in March.

What were some of the highlights of the Fall 2008 show?
Donovan Rypkema’s keynote (www.traditional-building.com/News/News 09-
22-08.htm) was definitely a highlight. He accurately summarized the economy
that we reside in now, and he gave us hope in terms of looking at the real value
of preservation. No matter what the economy is doing, we really have some-
thing to offer the world. There was also a continuing and growing interest in
sustainable topics in the courses. And as always, being in the historic site at
Navy Pier with its view of the Chicago skyline adds to the environment. It
has been said many times that Chicago is the city of architecture.

What does TBEC offer that can't be found elsewhere?
'The show and conference content are very different from the con-
ferences produced by the APT (Association for Preservation
Technology) or the National Trust for Historic Preservation.
Our market doesn't necessarily do preservation 100 per-
cent of the time, but these people need to know how to
do the work and where to find qualified professionals to
do the job. The National Trust focuses on advoca-
cy and how individuals, nonprofits and govern-
ment agencies can help support preservations for
the communities. АРТ runs sessions (һас are more on
the cutting edge, looking at technology and how it
is evolving. It offers new topics about old
buildings for full-time professionals. We
take some of that material and reinter-
pret that for the person who does preser-
vation work some of the time or builds
traditionally inspired new construction.
We have many hands-on sessions for
those working in the trades too.

What can we look forward to at the
upcoming Spring 2009 event in
Boston?

There will be a day-long conditions
assessment course, a great opportunity
to spend a full day learning how to do
building diagnostics. This workshop
will be conducted by the AIA Historic Resources Committee. And we are also
planning tours of the South End and Arts and Crafts churches of the Back Bay
area. As usual, we will have at least 60 conferences available, plus the presentation
of the 2009 Palladio winners, a keynote speaker and the annual gala party.

Also noteworthy are two sessions that will be offered free to all conference
participants. Peter Harkness, the founding publisher of Governing magazine will
deliver the keynote address on “Тһе Comeback of the City" In addition, Notre
Dame professors Sallie Hood and Ron Sakal will share their insights in а plenary
session called “Fixing the Worst First: Recovering Downtowns, Cities and
Suburbs.” (See Tiaditional Building, October, 2008, page 12 or go to www.tradition-
al-building.com/Previous-Issues-08/OctoberFeature08.html). Their program is
based on the work being done through the University of Notre Dame Center for
Building Communities. We are particularly strong in programs for the institutional
market for this conference.

Why is it important to attend these shows?

In addition to seeing the exhibits, education and networking are important reasons
for attending the shows. Not only can attendees walk the aisles and learn about
new products and services, but they can also earn as many as 24 CEUs.

A number of our participants have shared with me that they come to the show
because they get jobs as a direct result of speaking, demonstrating in TB Live, or
exhibiting. I ran into an architect who did a presentation at our show in Chicago.
There was a small turnout in her session, but a week later, someone in the class
called and hired her for a job. She was just the person he needed. Things like that
really reinforce the importance of networking.

How does all of this relate to the problems we see in today's economy?
During times of economic upheaval, it's important to keep the momentum going,
to advertise, to look at projects and to look for partners. At our event you can meet
people, and find out what they are doing. The reality is that when the economy
gets tight we really need to network. I am convinced that we will beat back the
fear and panic if we work together, and the show is the place to do that. тв

2009 TBEC Show Dates

For more information, go to www.traditionalbuildingshow.com or
contact Eric Peterson, show director, epetersonGrestoremedia.com.

March 12-14, Hynes Convention Center, Boston, MA
October 22-24, Baltimore Convention Center, Baltimore, MD

www.traditional-building.com

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[ RECENT PROJECT: RESTORATION

Community

Outreach

I'M STANDING AT the highest point in Portsmouth, NH,
near the top tier of an 1855 steeple built by shipwrights
along the town square. The view spans across brick commer-
cial blocks and clapboarded waterfront cottages, and the lacy
trusswork along the horizon — on harbor cranes and the tops
of bridges over rivers and inlets — seems to have been com-
posed by a talented landscape artist. The breeze is stiff up
there, but that's not why I have to hurry down the narrow
wooden ladders. The hands on the 1893 steeple clock are
closing in on noon, and I
| PROJECT | don't want my eardrums
North Church, near the belfrys 1863 bell
Portsmouth, NH that echoes across town.

My climb up could have
been unsafe just over a year
ago. The tapered 195-ft.
tower crowns North Church,

Architects
Samyn-D'Elia Architects,
Ashland, NH

designed by Boston-based
ecclesiastical architects Towle
& Foster, which has just

Contractor
Milestone Engineering &

Construction, Concord,
NH

Steeplejack
American Steeple &

undergone a thrifty $1.5
million restoration. Half the
funding came from the con-
gregations members,

the rest from concerned cit-

Tower Co., Salem, MA izens around the country —

670 individual grants flowed
in, ranging from $1 to $30,000, and the city chipped in
$100,000. Much of the money arrived in summer 2006, after
a July storm nearly dealt North Church a deathblow.

“The steeple timbers were so rotted you could put your
fist right through, and the sheathing was turning to powder,"
says Bob Levesque, head of American Steeple & Tower Co.,
which has rebuilt the spire. When the storm hit, his crews had
fortunately just started adding 16x18-in. timber reinforcements
at the base. Without those Douglas fir patches, he says, "the
whole structure would probably have been totally leveled.”

North Church had reached such a dire state partly
because its surface seemed to be aging rather gracefully. Many
of the condition problems were indeed largely cosmetic:
delivery trucks over the years had mangled some ornate iron

16 CLEM LABINE'S TRADITIONAL BUILDING

The restored steeple
is an invaluable focal
point and timekeeper
for the harbor town.
Gilded in 23K leaves,
the original weather-
vane glints again

in the sun. Photos:
John Gauvin/Studio One

fence posts around the site, Lexan sheets on the 1890 arched windows had cloud-
ed, and the clock faces were paint-clogged.A fifth of the mortar on the brick base
was failing, however, and brownstone trim was spalling. Worst of all, no one could
figure out why rust stains kept forming on the steeple, despite fresh whitewash-
ing every few years.

The congregation was founded by British colonists in 1671, and North
Church is its fourth home (the others burned or were razed). In spring 2006, they
hired Levesque for detective work. “We rigged up a bosun’s chair and spent five
days on a complete inspection, opening up areas to figure out what was really
going wrong,” he says. The underlying fault: well-intentioned restorers in 1910
had laid copper panels over rusting Victorian layers of steel sheet metal. The cop-
per installers, says Levesque, “clad the steeple from the top down, without over-
lapping pieces, putting in lock-seam joints, or burying fasteners. They just slid
each piece up under the one right above it and then face-nailed everything, so
water got in and condensation formed. The rust was just dripping down from
between the incompatible metals. That gave the steeple an awful orange-y look.”
David Baer, the project superintendent at Milestone Engineering &
Construction, speculates that when restoration began in April 2006, “probably just
the metal was holding everything up.”

Water damage had caused deep rot in the steeple timbers and sheathing. Photo: David Baer,
Milestone Engineering & Construction

The July storm felled the new scaffolding and timbers along with much of
the old wood; the gilded pineapple finial smashed to the pavement. “But it was a
godsend that no one was killed,” Baer notes; the pelting rain had driven almost
everyone indoors during the rush-hour squall. After the skies cleared, the sight of
the sheared-off spire “certainly galvanized support” for the restoration, Jameson
French, the chair of the project’s nonprofit support arm, the Market Square
Steeple Fund Campaign, told МОЋ, a local television station. “The decapita-
tion of the steeple,’ he added, “was such a shock to people.”

TV and newspaper reporters started tracking every step in North Church’s
recovery, until the 23K-gold-leafed weathervane was at last hoisted back into
place. Dramatic moments kept occurring along the way: “The city closed the
streets a dozen times for us, everyone was very supportive and invested in getting
it done right,” says Baer. On windier days though, the job site was often quiet,
because crews could not safely work on the exterior. There were days, Levesque
told WMUR, “you couldn’t even put a piece of copper down, because the wind
would take it.”

In addition to the high-profile tower work, the restoration team subtly spiffed
up the church base and interior. Cassidy Bros. Forge of Rowley, MA, replaced lost
fence sections and their granite-block bases. Northeast Masonry of Bow, NH,
repointed brickwork and built up sedimentary layers of mortar patches wherever
brownstone had spalled. Milestone hand-excavated the dirt basement by 1.5 feet,
poured a concrete slab floor, replaced a 25-year-old oil furnace with a propane-
fired forced-air system, and replaced brick piers with steel columns.

The veiled project loomed over Portsmouth's skyline of brick and clapboard buildings and
bridge trusses. Photo: David Baer, Milestone Engineering & Construction

www.traditional-building.com

Streets were closed a dozen

times for dramatic hoists
during the reconstruction.

Photo: David Baer, Milestone

Engineering & Construction

7772 -

Above: Тһе 1893 сіосК

faces were clogged with
paint. Photo: David Ваег,
Milestone Engineering &
Construction

Left: Massive scrollwork
brackets, sheathed in
copper flashing, frame
the six-foot-wide new
clock faces made of
laminated glass. Photo:
David Baer, Milestone
Engineering & Construction

CLEM LABINE’S TRADITIONAL BUILDING 17

Left: Restoration
crews could not
work on windy days.
Photo: David Baer,
MilestoneEngineering
& Construction

Right: Tempered
glass storm panels
have replaced cloudy
Lexan sheets on the
arched stained-glass
windows. Photo:
David Baer, Milestone
Engineering &
Construction

To brighten the vaulted main sanc-
tuary, Milestone replaced yellowed
Lexan window coverings with vented,
tempered glass storm panels (from
Granite State Glass in Gilford, NH).
Quarter-sawn oak floors and mahogany
pew trim have been refinished to high
polish. The dark woodwork contrasts
with high-relief whitewashed ornament
overhead: the balcony rests on deep
scrollwork brackets and cylindrical
columns with lotus-leaf capitals, and
thickets of leaves spiral around the ceil-
ing medallions. (Evidence has turned
up, Baer reports, that gilding and sten-
ciling lie underneath the whitewash;
recreating those delicate patterns, he
says, “could be another huge undertak-
ing for the church")

Much historic fabric has even sur-
vived in the once-decapitated steeple.
Amid webs of unpainted beams and
trusses in the attic, Milestone gently
wove a ventilation duct the length of
the building. Behind new laminated-
glass clock faces, new tongue-and-
groove paneling shelters a refurbished
original clockworks from Boston
maker E. Howard & Co. The church
keeps the original Howard instructions
posted on the wall; clock winders are
perplexingly reminded, “Pull out the
pin that goes through the centre-
wheel, and into a hole in a plate that
has 60 holes.” Right outside the clock-
works closet, representatives of the
restorers, congregation members and
fundraisers all signed and dated a
wooden wall in 2007. They wrote a
motto, too: “Restored with pride and
the support of the entire Portsmouth
community.’ — Eve M. Kahn

£j

m
за

| ው РР ም жеты зе

Above right: Copper flashing was laboriously
finalized onsite. Tight joints on the snugly
fitted flashing deter water penetration.
Photo: David Baer, Milestone Engineering &
Construction

Right: Deep scrollwork brackets support
the church’s balcony. Photo: David Baer,
Milestone Engineering & Construction

18 CLEM LABINE’S TRADITIONAL BUILDING www.traditional-building.com

BRIGHTER LIGHTS

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to be dazzled by the array of leading suppliers and manufacturers. Take advantage of

exceptional education sessions and outstanding speakers and events. Register today!

JANUARY 20-23, 2009 | /04 Vegas, | BUILDERSSHOW.COM

| PROJECT . | NESTLED IN THE BLUFFS of Wisconsin on a
A

70-acre site is a new jewel of architecture, crafts-
Our Lady of Guadalupe, 5 5 З

La Crosse. WI manship and faith. Conceived by and executed
É under the direction of His Excellency Raymond
L. Burke, Prefect of the Apostolic Signatura (for-
merly Bishop of La Crosse, WI), the Shrine of
Our Lady of Guadalupe is a rare example of new
church construction in the classical style. In fact,
it is said to be one of the few churches built in the

classical style in the U.S. in the past 50 years.
The shrine includes not only the 21,000-
sq.ft. church, but also a number of other buildings.
It is the church itself, however, with its campanile
and extraordinary interior ornamentation that

Architect
River Architects,
La Crosse, WI

Design Architect
Duncan G. Stroik
Architect, LLC, South
Bend, IN

Construction Manager
Fowler & Hammer, Inc.,

makes it so exceptional. “There have been some
La Crosse, WI

buildings like this built in the past 50 years,”
design architect Duncan G. Stroik of Duncan G.
Stroik Architect, LLC, of South Bend, ІМ, notes, “but this is extraordinary both
because of the emphasis on quality and the integration of the arts, including paint-
ing and sculpture. It was a once-in-a-lifetime project for everyone involved."

Completed earlier this year, the
church was a seven-year project, says
Stroik, explaining that it included three
years in the design phase and four years
of construction. While the exterior is
simple, “like a Tuscan church, stone and
tough;" the interior is more like a high
renaissance or baroque church, he adds.
“The interior architecture is the equiv-
alent of Bach in music, it is a fairly com-
plex composition, with themes that
develop as one visits the temple. This is
the grandest building we have ever
done in terms of design work, orna-
mentation, artistry and complexity"

One of the greatest challenges,
according to Stroik, was designing a
relatively small church with a "sense of
grandeur and generosity. We were
restricted by the size of the location
where the county would allow us to
build so we didn't have the flexibility
on size and location on the side of the
hill. It was also difficult getting the
materials to the site.”

Other challenges involved the
classical design. “There are all types of

problems that come up when you are

20 CLEM LABINE'S TRADITIONAL BUILDING

Completed earlier this year

" after.a seven-year effort, `
Our Lady of Guadalupe
ituated on а 70-acre 4

Commercial Photography,
La Crosse; Wh

designing a complex classical building,” Stroik explains, “іп creating the dome, the
large pilasters, how to create a rhythm that would have an interruption at the
dome and go back to the sanctuary. And the interior/exterior needed a certain
relationship. We had no desire to make the exterior as complex as the interior.”
The simpler exterior is made of stone from Minnesota and Wisconsin that was
blended to get a colorful mixture. Gray limestone was used for the cut details.

“As much as the exterior of Our Lady displays the special nature of this
shrine, it is its breathtaking interior that embodies its spirit,’ says David Riccio,
principal and project manager with John Canning Studios of Cheshire, CT, the
firm that was contracted for the ornamental plastering and design and execution
of the decorative painting in the interior. "In a day and age of minimalist inter-
pretations where ‘less is more; this ambitious project dared to awe the visitor with
prolific ornamentation and decoration. It was to be achieved through a high level
of attention to classical detailing, using traditional materials and techniques.”

"Everything has meaning, and there is a rationale for all the design elements,
details and colors" says founder and president John Canning. “We wanted to cre-
ate a glow, somewhat of a mystique. The space is filled with a glorious blending of
cast ornamental plaster, decorative treatments, ecclesiastical iconography and art-
work.” He adds that much of the interior was inspired by the interior of Santa
Maria Maggiore in Rome.

Inspired by traditional churches, the floor plan is a cruciform plan
with a large narthex and an ambulatory connecting the nave to
two sacristies. The interior measures 146 ft. long by 95 ft. wide.
It typically seats 450, but with additional chairs, can seat up to
650 people. Drawing: Duncan G. Stroik Architect

www.traditional-building.com

The church building is part of a complex of buildings іп the hills outside of La Crosse, WI. The exterior was designed to
look like a simple Tuscan building. Stone from Minnesota and Wisconsin was blended to create the colorful appearance,
while gray limestone was used for the cut details. Bob Metcalf Commercial Photography, La Crosse, WI

“Perhaps the most ambitious undertaking of all in the design and creation of
this shrine was in its ornamental plaster,’ Riccio notes. “Almost every architectur-
al element throughout the massive interior has been carefully detailed and craft-
ed from cast plaster, including the six-ft. tall classical entablature which encircles
the nave, transepts and sanctuary. It presented the greatest challenge as it transi-
tioned around pilasters, the central crossing below the dome, and into the radius
of the apse. A custom framework needed to be erected around the full perimeter
of the space to hold the great weight of the plaster.”

Canning’s plasterers produced some of the moldings on site; however,
Canning employed Felber Ornamental Plastering Corp., Norristown, PA, as the
supplier for the majority of the plaster moldings. “Shop drawings of the plaster
castings were reviewed down to sixteenths of inches in order to correctly repre-
sent classical design proportions,” explains Riccio. “Once the castings were secured
in place, each joint, each miter, required precision tooling similar to that of fine
carpentry, but on a much grander scale. You might think it all comes together like
a giant erector set, but the huge scale of these pieces inherently results in minor

The dramatic interior of the sanctuary of Our Lady of Guadalupe was designed to look like a
high renaissance or baroque church. John Canning Studios was responsible for the decorative
work, including the cast plaster ornament and painting. Lighting fixtures were supplied by
Winona Lighting, Winona, MN. Photo: Bob Metcalf Commercial Photography, La Crosse, WI

www.traditional-building.com

ND

This stained-glass
window showing the
Resurrection is one of
31 original windows
created by Rohlf's
Studio for Our Lady of
Guadalupe. It is approx-
imately 44 x 122 in.
Photo: Rohlf's Studio

4

twists and warps. It truly requires an experienced hand to ultimately align the
work and make it magically appear monolithic.”

In addition to the great entablature, cast plaster embellishes the central dome,
columns, piers, pilasters, window openings and entranceways. “The finely detailed
ornamental plaster continues beyond these strictly architectural elements and into
the realm of symbolism as well,” says Riccio.

Dominating the transepts are classical major shrines to the Sacred Heart and the
Immaculate Heart. Cast plaster columns and a colossal pediment, frame natural pol-
ished stone (rosso orobico) at each of these shrines. Lining the side aisles, classical
minor shrines have been created from cast plaster in a similar fashion to the grander
transept shrines, to frame newly commissioned commemorative artwork.

Among the greatest of tributes to Santa Maria Maggiore is the marble bal-
dacchino. It features a coffered dome, delicately curved cornice and intricate angel
valence created by skilled craftsmen. At comparatively smaller scales, custom
sculpted and cast plaster artwork punctuates the architrave and frieze with floral
garlands along with some 30 unique iconographic symbols, once again melding
the artistic, architectural and religious nature of the space.

For the decorative painting, Canning understood that the decoration needed
to draw its inspiration from two separate sources: the architecture and the sacred sym-
bolism. On the first count, Canning quotes notable 19th century British architect,
decorative artist and author of The Grammar of Ornament, Owen Jones, when he said,
“Form without color is like a body without a soul.” His Proposition 1 states, “The
Decorative Arts arise from and should properly be attendant upon, Architecture.”

On the second count, Canning grasped the significance of Our Lady of
Guadalupe. “Before Our Lady appeared to Juan Diego in December 1531, only the
Aztec emperor could wear the turquoise color," Canning relates. “Every element
of Her image, every nuance and motif, was an important teaching tool in the 16th
century New World. Those are the elements we drew on for this interior"

Canning blended a raw umber based color for the walls to act as a backdrop
for the colorful shrines in the side aisles and transepts, for the magnificent bal-
dacchino in the sanctuary, and the mosaic image of Our Lady at the altar. “Тһе
palette was not chosen from manufacturers paint chips, but rather mixed and
developed just for this space,” says Canning, “first in our studios, and then tweaked
and perfected on site. The creamy yellow used on the vaulted ceiling is inspired

Inspired by Santa Maria Maggiore in Rome, the marble baldacchino features a coffered
dome, delicately curved cornice and an intricate angel valence. This view shows the bal-
dacchino's plaster ceiling with its faux marble and gilded finish. Photo: Bob Metcalf
Commercial Photography, La Crosse, WI

CLEM LABINE’S TRADITIONAL BUILDING 21

Approximately 28
different marbleized
finishes and three
granite finishes
меге executed

by artists from
Canning Studios.

Іп the side aisles,
the columns of the
minor shrines are
leafed using a
“tone-on-tone”
technique. Much of
the gilding is glazed,
stenciled or tex-
tured to simulate
other finishes,

such as bronze.
Photo: Duncan G.
Stroik Architect

by the tones of the quarries in the stained glass windows, and the turquoise color
strategically placed throughout is taken from Our Lady’s mantle. These neutral
backgrounds and highlights were painstakingly selected to create the warm glow
and mystique that I sought.”

The rich detailing of the cast plaster architectural elements was further
enhanced with traditional decorative techniques. Approximately 28 different mar-
bleized finishes and three granite finishes were executed by artists from Canning
Studios. Gold, aluminum and Dutch metal gilding further embellish the tradition-
al detailing. In the side aisles, the columns of the minor shrines are leafed using a
“tone-on-tone” technique. Much of the gilding is glazed, stenciled or textured to
simulate other finishes, such as bronze.

In the transepts, the masculine tones of red and gold dress the Sacred Heart
shrine, while cream shades and soft silver create a style that is appropriately feminine
to the Immaculate Heart imagery. Flanking the sculpted and brightly painted
Marion symbols along the architrave, are silver leafed swagged
garlands of Castilian roses, continuing the feminine theme.
Above, on the marbleized entablature, a simulated gold mosa-
ic frieze bearing turquoise-colored ecclesiastical inscriptions
bands the interior and the base of the dome.

The ornate baldacchino employs more of the tradition-
al decorative vocabulary used in its surroundings: a mar-
bleized inner dome and cornice, and a gilded and glazed
metallic valance. Directly above it on the ribbed sanctuary
ceiling is the detailed plaster medallion with gilded and
glazed rosettes. Canning refers to the completed decoration
as “а tour de force of marble and metals.”

Stroik notes that a great deal of attention was paid to the
selection of the marbles used throughout the church. “My
goal was to build an American interpretation of a high
Renaissance Italian church,” he states, “so we were very
interested in the marble. We were looking for something
classic, so it would look timeless. Then Canning took our
initial designs and developed the decorative painting scheme.
The faux marbling, for example, had to work together with
the actual marble. We looked at examples in Europe and in
America. John would do parts of the building and decide it
wasn’t right, so he would redo it. They did a splendid job.”

Most of the marble was supplied by Twin City Tile and
Marble Co. of St. Paul, MN, and their Italian counterpart,
Italmarble Pocai SRL of Pietrasanta, Lucca, Italy.

The project also included 31 new stained-glass windows
that were designed, fabricated and installed by Rohlf’s
Stained & Leaded Glass Studio of Mt.Vernon, NY. “This was
a very extensive, once-in-a-lifetime project for us,” says Peter
Rohlf, CEO. *We won the project through an international
competition. We have done a lot of churches, but nothing like
this. They wanted Romanesque-style traditional windows. It
was a dream come true to do this job.” Rohlf’s supplied var-
ious sizes of windows for the church, featuring different
designs, some figurative and some symbolic. The Rohlf’s
stained-glass artist for the project was Alex Siderov.

Woodwork throughout the church including the pews,
doors and scaristies is all mahogany. It was fabricated by
Heebink Architectural Woodwork, Baldwin, WI.

One of the most striking parts of the church is the 35-
ft. dia. dome that rises approximately 98 ft. above the marble
floor at the crossing. It has been decorated with a unique
design inspired by the sacred symbolism of Our Lady of

22 CLEM LABINE’S TRADITIONAL BUILDING

The 35-ft. dia. dome rises approximately 98 ft. above the marble floor. It is decorated with a
mural depicting the various constellations as they were thought to have appeared in the sky
above Mexico City on the day Our Lady of Guadalupe appeared on December 12, 1531. Photo:
Duncan G. Stroik Architect

Guadalupe. Our Lady’s mantle is covered with stars mapping out various constel-
lations consistent with what astronomers believe was in the sky above Mexico
City the day her image was formed on December 12, 1531. With the assistance of
astronomers at the Talcott Mountain Science Center in Avon, CT, a sky map of
the constellations for that date and geographic location was obtained. Using this
information, Canning Studios craftspeople developed the design and layout of
stars for the dome.

Тһе stars are eight-pointed to represent Holy Baptism, and their sizes vary in
correlation to the range of five stellar magnitudes visible by the unaided human
eye. Each star is hand stenciled and gilded with 23k gold leaf, and is set against a
turquoise color night sky to match the color of Our Lady’s mantle.

Surrounding the central image of Our Lady at the altar is a hand stenciled
backdrop composed of the glyphs seen on her tunic; they are representative of
flowers and leaves important to the Indians. Similarly, Canning Studios also
designed stenciled diaper patterns for backgrounds at the shrines of Juan Diego
and St. Joseph which flank the sanctuary.

Stroik notes that seven years is a long time for a contemporary project, but not that
long when compared to the construction of other historic churches. "Most of today’s
clients don’t have a four-year construction frame in mind,” he says. "The church was
raising money the whole time, so that allowed us to be diligent about the construction.
You don’t want to rush something like this. It will be around for a long time.’ тв

Classical minor shrines were created in the side aisles with cast plaster columns and pediments to frame newly com-
missioned commemorative artwork. These shrines are faux marbled and the pilasters have a simulated faux granite
to complement the marble floor. Photo: Bob Metcalf Commercial Photography, La Crosse, WI

www.traditional-building.com

ж Partners |
forSacred Places

Connecting Professionals апа Congregations

As a Professional Alliance member you
will be well positioned, in front of decision
makers, as a provider of professional services
to congregations with historic religious
properties. Your firm can connect with
congregations that are ready, willing, and able
to proceed with planning and implementing

restoration projects.

Wad Partners for Sacred Places is the nation’s leading
| J organization dedicated to the sound stewardship and
active community use of America’s older religious

properties. Through its training programs, information

center, professional network, and regional offices in
Philadelphia, Fort Worth, and Chicago, Partners for
Sacred Places has helped build the organizational
capacity of congregations from all 50 states.

For Professional Alliance benefits and information, go to
www.sacredplaces.org/professionals.html or contact
Rana Gidumal McNamara at
rmcnamara@sacredplaces.org

or 215.567.3234 ext.15.

The official registration and financial information for Partners for Sacred Places,
Inc. may be obtained from the Pennsylvania Department of State by calling toll-free,
within Pennsylvania, 1.800.732.0999. Registration does not imply endorsement.

Kronenberger & Sons Restoration, Inc.

ውው ውን " ті; лай ao

CONSTRUCTION HAS BEEN ONGOING at St. John the Divine, the world’s
largest cathedral, on Manhattan’s Upper West Side, since 1892 and will likely con-
tinue for the next century. And its incompletion can be considered a kind of
advantage. “There’s symbolism to our imperfections,’ says Stephen Facey, the
cathedral’s executive vice president. “Like all human beings, and like the city itself,
we are always a work in progress.”

This fall, the cathedral’s progress made great

2А spirations

PRO visible leaps. In November, a restored nave, sanc-
St. John the Divine, tuary, ancillary chapels and 8,000-pipe organ were
New York, NY unveiled after a four-year overhaul. The place has

not looked so majestic since the 1910s, when half
Architect a dozen architectural teams collaborated on
Polshek Partnership designs for vaulted polychrome spaces in styles

Architects, New York, NY ranging from austere Norman to flamboyant

High Renaissance.

The church’s variety of colors and textures
had long lain concealed under uniformly gray
grime. But the original specifications, by the

Restoration Consultant

Historic Resources Group,
Los Angeles, CA

Engineers young New York partnership of George Heins and
ን. Асса Christopher Grant La Farge, called for marble and
New York NY granite floors and columns and brightly painted

gates and plaster reliefs. Around the nave, Heins &
La Farge laid out “The Chapels of the Seven
Tongues,’ dedicated to various immigrant groups
and their patron saints. Heins & La Farge designed
two of the seven (a Romanesque one for worship
of Ireland’s Saint Columba and an English Gothic
hall devoted to prophets from Asia and Africa), while other schemes came from
practitioners as prominent as Henry Vaughan (the first architect of Washington’s
National Cathedral) and Carrére & Hastings (best known for the New York Public
Library). The Guastavino Fireproof Construction Company lined the cathedral's
spiral staircases and ceilings with tile vaults, and sculptor Gutzon Borglum, later
famous for Mount Rushmore, carved dozens of stone angels and saints.

The early phases of the load-bearing construction took so long — partly
because the subsoil was unexpectedly soft, and foundations had to be dug deep to
reach bedrock — that Heins & La Farge were blamed for delays and cost overruns.
Their outdated tastes for domed Romanesque design also came under fire, and
shortly after Heins died of meningitis in 1907 (at just 47 years old), church lead-
ership brought in Gothic specialist Ralph Adams Cram to complete the building.
He created a 601-ft.-long limestone sanctuary, 124-ft. high, with a rose window
covering 1,240 sq.ft. Note the digits that add up to seven, referring to the number

Construction Manager
JS Mitchell & Sons, New
York, NY

24 CLEM LABINE’S TRADITIONAL BUILDING

Despite unfinished towers, St. John
the Divine looms majestically over
Manhattan’s Upper West Side.

Photo: Kara Flannery

St. John the Divine’s awe-inspiring sanctuary measures 601 feet long and 124 feet high. The
digits add up to seven, which is no accident; the number refers to, for instance, the number
of sacraments, days of the Creation week, and holy virtues. Photo: T. Whitney Cox

www.traditional-building.com

On а 40 ft. wide rose window executed by Boston-based artisan Charles J. Connick, the cen-
tral figure of Christ measures a lifelike 5 ft. 7 in. Photo: Bernardo Nuñez

of sacraments, days of the Creation week, and holy virtues. Seven pairs of cathe-
dral side bays are dedicated to human endeavors, including law, medicine, sports
and communication; stained-glass windows depict everything from Moses’ tablets
and Michelangelo’s statuary to a television and telephone pole.

Public services were first held in the sanctuary just before Pearl Harbor; Cram
died a few months later, and wartime shortages blocked further construction of
his envisioned three towers and two transepts. In the 1980s and ‘90s, a southwest
tower was extended from 150 to 205 ft. (of Cram’s planned 300), but then the
carvings supplier went bankrupt. The cathedral optimistically left up the tower
scaffolding. Hopes for expansion, however, seemed dashed in December 2001,
when a fire broke out in a gift shop inside the unfinished north transept.

“The fire blew through the nave like a blowtorch, and smoke deeply pene-
trated the porous limestone,” Facey says." We convinced the fire department to not
blow out the stained glass windows to fight the fire, to fight it instead from inside
the concrete-roofed nave. And no fireman was allowed to touch the organ;" an
Aeolian-Skinner model which has its own staff curator (Douglass Hunt) and pipes
weighing up to one ton apiece.

There were a few saving graces to the tragedy. The cathedral had already com-
missioned a preservation and site-improvement plan from a blue-chip team
including Polshek Partnership and Building Conservation Associates. Days after
the fire, the consultants glumly toured the site. *We walked through waist-high
wet debris, deciding what the immediate priorities should be to prevent further
deterioration,” says Claudia Kavenagh, BCA’s project manager. “We documented
how the smoke had soiled literally every surface. Later on, we made close-up
inspections of areas that no one had seen in decades, and found conditions that
had needed repair anyway before the fire, work that would make sense to com-
plete while the scaffolding was up.”

An insurance settlement of some $41 million financed the restoration and
repairs. “It’s been a tight budget for the world’s largest cathedral,” says Facey. Funds
were also allocated to peel rusted scaffolding off the south tower and, based on
consultations with New York architect James R. Gainfort, to re-waterproof and

Most of the cathedral vaults are lined in lightweight interlocking tiles manufactured by the
Guastavino Fireproof Construction Company. Photo: T. Whitney Cox

www.traditional-building.com

The high altar's 55-ft. granite columns were quarried іп Vinalhaven, ME. The twin menorahs,
gifts from New York Times founder Adolph Ochs, reflect the church’s mandate as “a house of
prayer for all people.” Photo: Cathedral Archives

copper-clad the complicated apse roofline. Under the supervision of organ cura-
tor Douglass Hunt, the instrument has been dismantled, repaired at Quimby Pipe
Organs in Warrensburg, MO, and reinstalled in the apse.

On the flowery gates to the chapels, Manhattan-based conservator Steven
Tatti has replicated red and gold highlights: “Мо one knew the metal there had
ever been anything but black,” says Facey. Decades-old water stains are being poul-
ticed out of the limestone — and those marks only became visible in the past year
or so, thanks to a comprehensive interior cleaning by masonry restorers Nicholson
& Galloway of Glen Head, NY. The soot-removal method, chosen after extensive
BCA testing, was a latex dispersion system named Arte Mundit, from the Belgian
firm FTB-Remmers, which had never been applied in the U.S. before. "You brush

The scaffolding allowed restorers access to details that had not been examined, let alone
cleaned, in decades. Despite lofty scaffolding, the cathedral remained open throughout its
$41-million restoration. Photo: Bernardo Nuñez

CLEM LABINE'S TRADITIONAL BUILDING 25

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NEWSLETTER

By Ken Follett, PTN Newsletter Editor
he traditional fare at an IPTW
event usually includes a music
night, with members performing
on a variety of instruments rang-
ing from dobro to drums to saws and chisels,
folks dancing, and an all around hoedown
atmosphere. Tradespeople are physically active
by nature and if given an opportunity, they
love to get up, spin, jump around and other-
wise cause a general ruckus. That said, a whole
lot of talking goes on between the traditional
trades during the ruckus, comparison of notes,
sharing of adventures, jokes and stories. The
net result is the building of a network, with
relationships that last beyond the event into
the years.

It has often been noted that the most
important time spent at an IPTW is not during the
demonstrations but in the spaces between them,
when folks get into haggling over the nitty-gritty of
technique, technology, and how to keep their busi-
nesses healthy. If you come to an IPTW for the
demonstrations that is good, but you should keep
in mind that the spirit of PTN does not stop there.
It may be at least one reason why so much PTN
energy is funneled down to New Orleans, where
there continues to be an incredible need for help,
hands and hope.

We also have an annual auction. At the auction
that was held in Barre, VT, at the IPTW in July 2008,
Timothy Wilkinson and Tom Leslie from Christian

www.traditional-building.com

WRITE IN NO. 1484

PRESERVATION TRADES NETWORK

PO BOX 249 AMHERST, NEW HAMPSHIRE 03031-0249
PHONE: 866-853-9335 FAX: 866-853-9336

E-MAIL: info@PTN.org WEBSITE: www.PTN.org or www. IPTW.org

The Spirit of IPTW

This lion, carved by Deborah Mills on a log hewn by Timothy Wilkinson and
Tom Leslie of Christian & Sons, was carried back to Brooklyn via Rhode Island.

& Sons hewed a log as a demonstration. Deborah
Mills, wood carver and PTN member who was set up
near them, saw the log/timber and offered to carve a
lion onto it for the auction. She quickly designed a
lion and started carving. That led to a timber with
the carved outline of a lion being entered into the
live auction. I was working the auction floor, one of
those tedious tasks that go to old members who have
nothing better to do, and when the dust was cleared
at the end of the evening I found I had won the auc-
tion on the log/timber without yet a lion.

We had arrived in Vermont in a Prius (go
green!) filled up with people and stuff, so there was
no way we were going to be able to tie the 15-ft.

long timber to the roof. So we connect-
ed with Rob Cagnetta, PTN treasurer
and director, who agreed to move the
log in his van to Rhode Island. From
there he had reason to meet us on Long
Island a month or so later. From there
we took the timber to Deborah’s studio
in Brooklyn, NY.

From July to November, interspersed
between her working gigs. Deborah has
been working on carving the lion. It
has led to visits to her studio in North
Greenpoint, Brooklyn, to a mess of e-
mail exchanges, to attending at least one
party and to an overall getting-to-
know-each-other experience. I think
this exchange has much more value than
the object of a log with a lion carved on
it. But, lo! Something that looked not much like
nothing in July but a hacked up log (that mysteri-
ously got a green stripe disease when in Rob's pos-
session) turns into what you see here.

This is what PTN is about — people stories like
these. If you have a story that you would like to
share about your experience with PTN, then please
send it on to rchristian@ptn.org. We need to hear
from you. Ф

The Preservation Trades Network (PTN) is a non-prof-
it 501(c)3 membership organization incorporated as an
education, networking and outreach organization.
PTN is a registered provider of AIA/CES CEUs.

CLEM LABINE'S TRADITIONAL BUILDING 27

[ RECENT PROJECT: NEW DESIGN & CONSTRUCTION

Rejecting 1
Modernism

AFTER SELLING THEIR 1968 Modernist-style church in
the winter of 2006, Father Dowling and the congregation of
St. John Neumann Catholic Church in Farragut, TN, had a
new goal in mind. They envisioned building a new and larg-
er French Romanesque-style church, reminiscent of the
Cathedral Basilica in Saint Louis, MO. Towards the end of
2006, Father Dowling and the building committee for the
new church approached Ethan Anthony, AIA, president of
Boston, MA-based HDB/Cram and Ferguson Architects,
with their plans." They wanted a celebrated location for God
in the tradition of facing the liturgical east, which is based on
the idea that the rising sun represents the resurrection;" says
Anthony. “The other thing they were clear about is that they
wanted a very traditional form of architecture. They wanted
the ability to have a strong procession, a long rectilinear aisle
leading up to the altar and a powerful sanctuary area.”

The church has a school nearby, from which students
attend morning mass three days a week. Therefore, the build-
ing committee also wanted the new church to serve as a
teaching tool. Anthony suggested using a cruciform floor
plan that would not only allow for a long rectilinear nave
leading to a wide and open altar, but would also demonstrate

| PROJECT the symbolism behind the

fae historic development of
St. John Neumann Catholic church structures. “Іп the
Church, Farragut, TIN Middle Ages people started
to look at floor plans as a
representation of the body
of Chris on the ground
with arms and a head; that’s
where the cruciform plan
came about,” says Anthony.
“Тһе building committee
really liked the idea of
using a cruciform plan.”
With the wishes of Father Dowling and the building
committee in mind, Anthony drew a rough sketch of the
exterior during their first meeting. “Romanesque is a transi-
tional style to Gothic,” says Anthony. “It is based on round
arches and has relatively less ornament on the exterior
design. The style tends to have thicker walls with fewer and smaller openings, as
the stone work, at the time, had not been perfected to allow for larger openings.”
Indeed, the openings on the exterior of the new St. John Neumann Catholic
Church, which was scheduled for completion in November 2008, are small in
proportion to the building’s mass. There are three round arched portals for the
main entrances on the front facade — the east side of the church. Rounded arched
elements are also found in the design of the cornice along the gabled roof and in
the openings of a square bell tower. To achieve the appearance of thick heavy
walls, Anthony opted to use 4-in. rock-faced Texas limestone veneers, trimmed

Architect

HDB/Cram and Ferguson
Architects, Boston, MA;
Ethan Anthony, AIA, presi-
dent; Kevin Hogan, project
manager; Sarah Kinney,
design assistant

The openings of the church were intentionally designed to be small in proportion to the mass of the building - a
characteristic of the Romanesque style.

28 CLEM LABINE’S TRADITIONAL BUILDING

HDB/Cram and Ferguson Architects of Boston, MA, designed this new French Romanesque style church in Farragut,
TN, for the St. John Neumann Catholic Church. All Photos: Ethan Anthony

The building is
designed in a cruci-
form plan to pay
homage to tradition-
al Catholic Church
architecture. The
new floor plan allows
for more than 900
seats and follows the
tradition of facing
the liturgical east.
Floor plan: courtesy
of HDB/Cram and
Ferguson Architects

with cast stone. A visible terra-cotta roof using tiles by Ludowici Roof Tile, based
in New Lexington, OH, was incorporated in the design, as were a basilica interi-
or with a clerestory and other design elements based on the St. Louis Cathedral.

To help finalize the interior details, Anthony decided to take a trip to the
Burgundy region of France, where he familiarized himself with the French
Romanesque style. Prior to the project, it had been 70 years since the firm
worked on a Romanesque-style design, and Anthony had never worked in the
style before. He visited many buildings and drew inspiration mainly from the
churches at Amiens, Vezelay Abbey and the Abbey of Fontenay.

Compared to those in other regions, Anthony found the
French Romanesque style’s high-pitched roofs and slopes quite
distinct. He added these characteristics in his design for the bell
tower and also incorporated a 55-ft.-high ceiling over the nave
and an 85-ft.-high dome over the altar. The high dome,
although not found in the Burgundy region, was a common
design element of Roman architecture. Father Dowling had
specified that he wanted a dome because the mosaic domes of
St. Louis Cathedral inspired him. Unfortunately, a mosaic inte-
rior was too costly, so he settled on a painted interior instead
(the commission was given to Conrad Schmitt Studios of New
Berlin, WI). To add a sense of uplift, Anthony included a cupo-
la that allows natural light in to illuminate a painted dove — a
traditional symbol of the Holy Spirit — against a gold back-
ground at the center of the dome.

Since the cruciform plan included a 100- ft.-long nave,
Anthony was able to install, at Father Dowling’s request, 20
stained-glass clerestory windows. There are five bays with six
supporting piers in the arcade on either side of the nave; the
rectangular-shaped piers have half columns of marble added
to the side that faces it. The column capital designs were
based on figures Anthony saw in Amiens Cathedral during
his trip and, like all of the sculpture, they were created by
Boston, MA-based, Danielle Krcmar.

During his trip, Anthony was inspired by several groin-
vault ceilings — another Romanesque-style detail distinct to

www.traditional-building.com

Тһе basilica interior design was inspired by the Cathedral Basilica of Saint Louis, МО, апа
Romanesque churches in France. The marble floor and painted murals took much longer to
complete than anticipated.

the Burgundy region. He found а Toronto-based company, Formglas, which used
a molding process to create the ceiling design for the church. Formglas used a laser
to create a 560-sq.ft. mold, based on three-dimensional CAD drawings provided
by Anthony. A gypsum composition, similar to wallboard but mixed with differ-
ent binders, was placed over the mold to form panels. The panels were then cut
into approximately 4x8-ft. sheets and were hung, taped and finished like a wall-
board ceiling. “It’s a really fascinating process and Formglas is the only company
in the world that does it,” says Anthony.

One of the main challenges was meeting the budget. “The budget was a bit
low for what Father Dowling and the building committee wanted to do,” says
Anthony. “We did have a value-engineering component where we significantly
reduced the price from the bids.” Lower grade materials, such as Texas limestone
for the exterior, were chosen. “Our experience has been that Texas limestone is
quite a bit less expensive; it does not have the freeze resistance of, for example,
Indiana limestone but in Tennessee that wasn’t really a concern for us,” he says.

To further reduce costs, the church purchased materials directly from the
manufacturers. “The church has the ability to avoid taxation through being a tax-
exempt organization,” says Anthony. “We pre-bid anything that was a single source
and arranged for them to purchase the materials in large amounts directly — the
church personnel had to physically pay with a check. It saved them approximately
$100,000.” In the end, the project was 10-20 percent over the allotted budget, but
Father Dowling and the members of the building committee were satisfied with
the outcome.

Farragut is a town dominated by updated traditional Southern Colonial
Style architecture and the Romanesque style church is a subtle addition to the
neighborhood’s architectural landscape. Against a backdrop of simple brick
buildings with gable roofs and round arches dotted here and there, the heavy
stone church structure fits right in with its surroundings. “It’s not exactly the
same as the others,” says Anthony, “but the introduction of a traditional form
feels quite comfortable.” — Annabel Hsin

The rose windows in the church follow a wheel and spoke design instead of a floral design.

This rose window located in the south transept depicts the major and minor Prophets of the
Old Testament.

www.traditional-buil

Instead of wrapping the entire pier with marble, half columns of marble were added to the
side facing the nave.

An 85-ft.-high dome, the maximum height allowed in the region, over the crossing and altar
provides a sense of uplift.

Aluminum traceries, a low-cost and efficient alternative to steal tracery, from the CAFF
Company, based in Pittsburgh, PA, were used on the stained-glass windows.

CLEM LABINE’S TRADITIONAL BUILDING 29

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SOURCELIST/ADVERTISER INDEX

Sourcelists Religious Buildings

Historical Products Showcase 36
Art Glass 51
Murals & Mosaics 54
Sculpture & Statuary 58
Ecclesiastical Furnishings & Specialties 60
Doors & Door Hardware 62
Windows & Window Hardware 70
Wood Flooring 75
Decorative Painting 76
Gilding 78
Interior Lighting 82
Forged & Wrought Metalwork 87
Metal Castings 92
Metal Roofing 94
Tile Roofing 98
Slate Roofing 102
Steeples, Domes & Cupolas 106
Snowguards 109
Stone Carving 110
Specialty Brick & Mortar 112
Wood Carving 114

Advertiser Index

This index lists the page number for the company’s ad as well as the reader service number. With the

latter number you can order product literature from the company by filling out the postcard opposite this

page or by going online to www.traditional-building.com and clicking on “Free Product Literature.” You may
order product literature for an entire Sourcelist by using the reader service number at its heading.

Historical Products Showcase

Reader service питрег..............22: Page number
1428. AZEK Building Products, Inc. ....... 41, 45, 49
1537. Above View By Tiles, Іпс................. 47
8032. American Restoration Tile, Inc............. 44
9820. Architectural Grile ..................... 45
1088. Architectural Products By Outwater, LLC ...... 5
ж Bathroom Machineries, DEA.............. 45
166. Bevolo Gas & Electric Lights ............. 4T
966. Brian Greer's Tin Ceilings, Walls &
Unique Metalwork . .................... 49
190. Chelsea Decorative Metal Co. ............ 46
949; Circle Redmornt Inc; — 22.22 ውዳ» 50
1280. Classic Gutter Systems, LLC ............. 42
1759. Concealite Safety Products .............. 49
2767: Daninaus:EightingsInc. 1. metr RIS 43
210. Decorators Supply Corp. ................ 47
8210. Fagan Design & Fabrication, Inc. .......... 40
1960. Fischer & Jirouch Co. .................. 44
2220* Frank MONON GOL oV ur rece RIT 46
2520-Gabys:Shoppe INL መ err 40
4780. Goddard Mfg. Co. ..................... 44
1484. Goodrich & Сотрапу................... 27
4020. Haddonstone (USA), Ltd. ................ 42
1879. Heat Registers.com ................... 48
1719. Jack Arnold - European Copper............ 43
1335. Kees Architectural Division .............. 45
1233. Liberty Head Post & Веат............... 43
6060. Monarch Products Со................... 45
370. Nixalite of America, Іпс.................. 46
6860. Oak Leaf Conservatories of York .......... 48
* Oakbrook Esser Studios, Inc.............. 50
SOS ERG Пс т DIM I MEUS 48

*Contact for more information

34 CLEM LABINE’S TRADITIONAL BUILDING

Reader service number ............... Page number
656). Pacific GOIUmns; curse uem uiu te rese SIS 39
957. Park City.Rain бийег................... 46
378. Renaissance Conservatories ............. 43
785- Superior:Clay-GOID: 2.2225. ол 50
8270. Tanglewood Conservatories .............. 42
2846. Tile Source, Inc. – Floor & Wall Tile ........ 49
8121. Tile Source, Inc. – Plaques .............. 49
4925. Timberlane Inc. - Endurian Shutters ........ 44
4056 <TimberlanenCrisia a cs hee 44

9819 Art Glass

1841. Conrad Schmitt Studios, Inc. ............. 77
1951. John Hardman Trading Co., Ltd ........... 53
6240. Rohlf's Stained & Leaded Glass Studio ..... 52
4480. Rohlf's Stained Glass Studio – Windows ..... 52
2674. Willet Hauser Architectural Glass .......... 5d

9820 Murals & Mosaics

5100: Canning Studios s ea 55:5 5:9 А A 57
A83. FishmaniMOSal6S x. uri los erreur e arr 5 54
1765. John: Hedeman пс... „Е оо 25

9824 Sculpture & Statuary
4260-2: Ва Consulting... ግ. 59
ж Kenneth Lynch & Sons, Inc. ........... 37, 59

9822 Ecclesiastical Furnishings & Specialties

1869. Baker Liturgical Art, LLC ................ 61
FESO: Brosamer «Веі =. оаа 61
1839. Conrad Schmitt Studios, Inc. ............. ТЕР:
2027. -Geissler-Ino: መእ ው 2... 61

9823 Doors % Door Hardware

Reader service питрбГ................. Page number
2636. Al Bar-Wilmette Platers .............. 51, 68
2930. Ball & Ball Hardware .................. 124
IS BANC es B.E E. 69
9600. Coppa Woodworking ................... 68
6980. Craftsmen Hardware Co. ................ 68
432. Crown City Hardware Со. ................ 63
22605ERSButler ec dp: vll «Ren 2. 123
4940. Grabill Windows & Doors ................ 69
1166. Guerin; РЕ. АҒ sS. M. 65
1947. Llamilton:Sihnklgr TS case tub sce ] 66
SOLO! Historic: ОО и мези. Маша лу bier. ] 68
1096. House of Antique Hardware .............. 69
1240. James Peters & Son, INC. ............... 69
4573. Kingsland Architectural Millwork ........... 66
1907. Marvin Windows and Doors .............. TL
319. Notting Hill Decorative Hardware .......... 69
IHC NANA Сотапу о а. 8 67
1061. Vintage Woodworks .................... 68
1316. Weston Millwork Co. ................... 68

9824 Windows & Window Hardware

690. Allied: በስ ሽበር... .።...... ፡.....፡ 72
909. Innerglass Window Systems ............. 74
* Kayne and Son Custom Hardware Inc. ...... 74
1263. Marvin Windows & Doors ............... 71
3003..Parrett WindOWS ER J 73
6001. Phelps Сотрайу .........2...2.4-....! 74
3590. Seekircher Steel Window Repair Corp. ...... 74
9640. Wood Window Workshop ................ 74
Ба WOOUSIONG ү з ce ieee eee A t 74

9825 Wood Flooring

4457. Antique-Lumbef- 2:2 a Eea { 75
7480. Country Road Associates, Ltd. ............ [b
1476; Мав WOE: 22222... lo. X. 1 5

Use the red number to order product information for an entire Sourcelist.

www.traditional-building.com

9827 Decorative Painting

Reader service питһег................. Page number
8040. Conrad Schmitt Studios ................. zt
2460. EverGreene Painting Studios ............. 76

4710. Lynne Rutter Murals & Decorative Painting . . .76

9828 Gilding

743. EverGreene Painting Studios ............. 76
910-1600 Е СОЕ CS. 79
2880. Sepp Leaf Products, Inc. ................ 79
8900. Wehrung & Billmeier ................... 79

9829 Interior Lighting

2240. AAMSCO Lighting, Іпс................... 86
60--Authentic:Designs: li. ducis NE 86
4850. Classic Accents, Іпс.................... 84
488:60]6:8/60:30.W. . loli. mesi ENG 85
*Coppersmythe, Josiah К... GGT 86
313. Crenshaw Lighting ...................0. 85
809. Deep Landing Workshop ................ 84
9130..HenwigibISBHERE ЕТ oa od 86
792. Remains Antique Lighting ............... 86
6190. St. Louis Antique Lighting Co. ............ 83
483. Steven Handelman Studios .............. 85
1837. The Period Arts ҒапСо.................. 85

9830 Forged & Wrought Metalwork

1504. Architectural Iron Со.................... 89
867769: Баю s WOES oll Sms ረ 89
1023. DeAngelis Iron Work, Inc................. 88

*Contact for more information

to visit the new Tradition

www.traditional-building.com

Reader service number ................. Page number
2640. Fine Architectural Metalsmiths ............ 89
418. King Architectural Меігі6................ 87
5340. Liberty Ornamental Products ............. 88
5170. NOMMA - National Ornamental &
Miscellaneous Metals Association ......... 91
5810. Reggio Register Со., The ................ 89
1218. Schwartz’s Forge & Metalworks, Inc......... 91
1223. Wiemann Ironworks ..............:..... 89

9831 Metal Castings
1005. Allen Architectural Metals, Іпс.............. 2
1210. Historical Arts & Casting, Inc. ............ 93

9832 Metal Roofing

2470 Heattier a Eilesbtd...... 2l Е 96
8300: NIKO CONAGRA aaa A 94
3067. Nicholson & Galloway .................. 97
5025. Omametals LEG as ya ማሮ Ra 94
3890. Petersen Aluminum Corp. ............ 95, 97

S20: WE NOMAN COD oss. soe E 97

9833 Slate Roofing
2723. American Slate Co. ................... 102

9834 Tile Roofing

160. Boston Valley Terra Cotta .............. 101
6340. HOOKS ШӨ д дыз... ks sb ele eek 98
2760. Ludowici КооГТіе..................... 99
2840. Vande Hey Raleigh Mfg................. 100

g
ES

9835 Steeples, Domes & Cupolas

Reader service питВег................. Page number
2730. Campbellsville Industries ............... 108
13177. EJMcopper.Inczs ел o LIS ee 107
7310. Fiberglass Specialties, Inc. ............. 107
9520. Michigan Ornamental Metals ............ 107
1356-Munns: Mies dnos. ce oes жы eens ee 108
1264. New Concept Louvers Inc. .............. 107
4620. Seal Reinforced Fiberglass - Cornices ..... 107
1353. Seal Reinforced Fiberglass - Cupolas...... 107

9836 Snowguards
145. AlpineSnowGuards.com ................ 109
2450. East Coast Roof Specialties ............ 109

9837 Stone Carvings

754. North American Stone Company ...... 505111
2902. Traditional Cut Stone, Ltd. .............. dum
BOSSES ከፈን ር Holdenz 7а ER a Bs M U

9838 Specialty Brick & Mortar
1877. Eldorado.Stone от А ee ES 15
504.-Weathercaps ine: Уо еа кти А, 112

9839 Wood Carving

4952. Heartwood Сагуіп vi :.. 1..5. eee cn 7:45
7380. Klitsas, Dimitrios - Fine Wood Sculptor ..... 2215
1650. Wilbur, Frederick - Woodcarver ........... 145

aitional-building.com

CLEM LABINE’S TRADITIONAL BUILDING 35

SOURCELIST

Historical Products Showcase

Above View By Tiles, Inc.
414-744-7118; Fax: 414-744-7119
www.aboveview.com

Milwaukee, WI 53221

Supplier of suspended plaster ceiling tile
& exotic wall panels: gypsum & other
non-combustible aggregates.

Write in No. 1537

Above View By Tiles supplied the ornamental plaster
ceiling for the historic Matthew Keenan Building in
Milwaukee, WI.

American Restoration Tile, Inc.
501-455-1000; Fax: 501-455-1004
www.restorationtile.com

Mabelvale, AR 72103

Custom manufacturer of historical tile:
for fireplaces, flooring, kitchens, baths &
custom mosaics; restoration & new con-
struction; custom matching of glazed &
unglazed tile.

Write in No. 8032

hexagonal, unglazed porcelain flooring tile.

Architectural Grille

800-387-6267; Fax: 718-832-1390
www.archgrille.com

Brooklyn, NY 11215

Manufacturer of custom grilles: perforated &
linear bar grilles; radiator covers; aluminum,
brass, steel & stainless steel; variety of finishes;
stock sizes; water-jet ይር laser cutting.

Write in No. 2220

тү

The Cathedral, which is 57 percent open, is опе of many
styles of perforated grilles manufactured by Architectural Grille.

AZEK Building Products, Inc.
877-275-2935; Fax: 570-504-1215
www.azek.com

Moosic, PA 18507

Manufacturer of cellular PVC exterior
products: trim profiles, beadboards, cor-
nerboards, molding, decking, porch
planks & millwork.

Write in No. 1428

The balustrade and widow's walk on the 1885 Crocker
Art Museum in Sacramento, CA, are made of Azek cel-
lular PVC.

Bathroom Machineries, DEA
209-728-2031; Fax: 209-728-2320
www.deabath.com

Murphys, CA 95247

Supplier of Early American & Victorian
bathroom fixtures & accessories: antique
& reproduction clawfoot tubs, high-tank
toilets, pedestal sinks, mirrors & many
one-of-a-kind items.

Call for more information.

This Roman-style bathtub is one of the many fixtures
available from Bathroom Machineries.

Bevolo Gas & Electric Lights
504-522-9485; Fax: 504-522-5563
www.bevolo.com

New Orleans, LA 70130

Manufacturer & distributor of lighting
fixtures: hand riveted, antique copper, nat-
ural gas, propane & electric; residential,
commercial, landscapes & streetscapes;
custom scaling & style proposals.

Write in No. 166

Bevolo Gas & Electric supplies hand-riveted electric
and gas-burning fixtures in copper.

Brian Greer's Tin Ceilings, Walls
& Unique Metalwork
519-743-9710; Fax: 519-570-1447
www.tinceiling.com

Petersburg, ON, Canada NOB 2HO
Supplier of decorative tin ceiling panels:
tin, copper, brass, chrome & pewter fin-
ishes on 2x2-ft. panels; can be painted
or left bright tin; moldings, fillers &
cornices available.

Write in No. 966

Ceiling panels with historical patterns are the specialty of
Brian Greer’ Tin Ceilings, Walls & Unique Metalwork.

36 CLEM LABINE’S TRADITIONAL BUILDING

Chelsea Decorative Metal Co.
713-721-9200; Fax: 713-776-8661
www.thetinman.com

Houston, TX 77074

Manufacturer of pressed-tin ceiling &
wall panels: tin-plated steel has shiny sil-
ver finish, can be painted with oil-based
paint; 3-, 6-, 12- & 24-in. patterns rang-
ing from Art Deco to Victorian; easy-to-
install 2x4-ft. sheets.

Write in No. 190

Gr

АМ
The Gothic Gold tin-ceiling pattern from Chelsea
Decorative Metal features a hand-painted finish.

Circle Redmont, Inc.
800-358-3888; Fax: 321-259-7237
www.circleredmont.com

Melbourne, FL 32940

Manufacturer of structurally engineered
frames: outbuildings, stairs & flooring;
aluminum, steel, precast concrete, stainless
steel & cast iron; prefabricated & pre-
glazed with glass block, pavers, bullets or
composite plank glass.

Write in No. 379

Classic Gutter Systems, LLC
269-665-2700; Fax: 269-665-1234
www.classicgutters.com

Kalamazoo, MI 49009

Manufacturer of half-round gutters: heavy
20-oz. copper, heavy-duty aluminum &
galvalume with baked-enamel finish; hid-
den nut-&-bolt adjustable hanger system;
cast fascia brackets & decorative compo-
nents; solid brass & aluminum.

Write in No. 128!

This ornate gutter, fabricated by Classic Gutter Systems,
incorporates a hidden adjustable hanger system.

Concealite Safety Products
605-542-4444; Fax: 605-542-3333
www.concealite.com

Elkton, SD 57026

Supplier of building safety products:
emergency lighting, exit signs, fire-alarm
signaling devices, emergency a/c power,
central battery units & RT switches;
almost invisible installation.

Write in No. 1759

Dahlhaus Lighting, Inc.
718-218-6651; Fax: 718-218-6653
www.dahlhaus-lighting.com

Brooklyn, NY 11211

Manufacturer of street furnishings &
lighting: benches, clocks, plaques, street
lamps, lanterns, bollards, fountains, orna-
ment & mailboxes in European styles; for
residential, commercial & civic sites.

Write in No. 2767

The Old
German
Mailbox, model
#1526 from
Dahlhaus,
measures

31.5x19.3 in.

Decorators Supply Corp.
773-847-6300; Fax: 773-847-6357
www.decoratorssupply.com

Chicago, IL 60609

Supplier of period architectural elements:
ceiling medallions, mantels, cornices,
columns & capitals; plaster of Paris, compo
& wood; 14,000 patterns available.

Write in No. 210

Decorators Supply offers thousands of molded period

architectural elements.

Fagan Design & Fabrication, Inc.
203-937-1874; Fax: 203-937-7321
www.fagancolumns.net

West Haven, CT 06516

Manufacturer of columns, staircase parts
& turnings: stain grades in any wood
species; classical orders; stock & custom;
worldwide supplier.

Write in No. 8210

Fagan Design & Fabrication manufactured these
Roman Doric columns with Attic bases.

Fischer & Jirouch Co.
216-361-3840; Fax: 216-361-0650
www.fischerandjirouch.com

Cleveland, OH 44103

Manufacturer of handcrafted plaster
moldings: columns, capitals, ceiling
medallions & fireplace mantels; interior
& exterior ornament.

Write in No. 1960

Tiaditional plaster ornament such as this cornice
molding is the specialty of Fischer & Jirouch.

www.traditional-building.com

Visualh

Stimulatin q

ust one of the phrases that describes the exceptional work ፖ
[м quality that go into the unique products at Kenneth Ф | መ

Lynch and Sons. When you are designing a dazzling park, | ud E.
recreation area, college campus or landscaping your own home, V Y.
we can provide the right water feature to turn your vision into e
something spectacular. Kenneth Lynch & Sons, continues to satisfy |
customers with their manufacturing quality and excellence. We Er.
produce thousands of unique and traditional ornamental products. y
We also specialize in the design and construction of exceptional and y Р,
classic benches, fountains, statuary, sundials and weathervanes.
Consisting of Lead, Bronze & Cast Stone products, each work
is individually crafted to satisfy the clients’ desire and
imagination for unique character,
purpose and performance.

E ее
At Kenneth Lynch & Sons our j

goal has been to maintain time- — 5 EY

honored techniques in the tradition of ss
fine craftsmanship and our commitment to personal
service to our customers for more than 80 years.

Send $15.00 today for your copy of our catalogue with an

included current price list. A complimentary copy is available
to members of ASLA, AIA and ASID. Please include you
shipping identification number for your copy today!

Visit our website at:
www.klynchandsons.com
for more products and information
on Kenneth Lynch & Sons.

KENNETH LYNCH & SONS

ARCHITECTURAL ORNAMENTAL METAL & STONE

114 Willenbrock Road, Oxford, Connecticut 06478
TEL: (203) 264-2831 FAX: (203) 264-2833

EMAIL: info@klynchandsons.com
Visit our Website at www.klynchandsons.com

www.traditional-building.com CLEM LABINE’S TRADITIONAL BUILDING 37

HISTORICAL PRODUCTS SHOWCASE

Frank Morrow Co.
800-556-7688; Fax: 401-941-3810
www.frankmorrow.com

Providence, RI 02905

Designer & manufacturer of more than
6,000 ornamental metal trims: embossed
banding & perforated gallery; decorative
stampings include leaves, flowers, husks,
bobeches, animals, motifs & more; grey-
iron castings.

Write in No. 1220

The Fleur-de-Lis banding is one of many styles
available from Frank Morrow Co.

Gaby’s Shoppe

800-299-4229; Fax: 214-748-7701
www.gabys.com

Dallas, TX 75207

Manufacturer of handcrafted decorative
iron drapery hardware: for curved &
angled bay windows & arches; 30 standard
finishes; more than 100 finial options.
Write in No. 2520

Gaby’s Shoppe offers a selection of drapery-hardware
designs in six powder-coated finishes.

Goddard Mfg. Co.
800-536-4341; Fax: 785-689-4303
www.spiral-staircases.com

Logan, KS 67646

Custom fabricator of stairs: spiral &
curved; balusters & newels; all wood
(mainly pine & oak), steel/wood combi-
nations & all steel; wholesale prices.

Write in No. 4780
ШЕ ТЕ

Goddard Mfg. Co. custom fabricated this all-wood
curved staircase.

Haddonstone (USA), Ltd.
719-948-4554; Fax: 719-948-4285
www.haddonstone.com

Pueblo, CO 81001

Manufacturer of classical & contempo-
rary stonework: columns, balustrades,
benches, planters, urns, pavers, fountains,
gazebos, interior ornament, mantels, stat-
uary & more; cast limestone resembling
Portland stone; 500+ designs.

Write in No. 4020

Haddonstone supplied this Triple Lotus bowl fountain

for the Excelsior and Grand Hotel in St. Louis, MN;

each bowl is supported by fluted pedestals featuring
stylized Ionic capitals.

Heat Registers.com
509-535-1237; Fax: 509-534-8916
www.heatregisters.com

Spokane, WA 99223

Supplier of registers & grilles: metal &
wood; cast & forged metal, sheet metal,
metal plate.

Write in No. 1879

Jack Arnold - European Copper
800-824-3565; Fax: 918-495-0824
www.jackarnold.com

Tulsa, OK 74136

Manufacturer of custom copper chimney
pots: patina finish; UL listed & patented.
Write in No. 1719

Jack Arnold-European Copper offers five styles of cop-
per chimney pots measuring up to 3% ft. tall; they are
designed to prevent rain damage and animal infestation
while improving draft and reducing the risk of fires.

Kees Architectural Division
800-889-7215; Fax: 920-876-3065
www.kees.com

Elkhart Lake, WI 53020

Custom fabricator of architectural
stamped, waterjet-cut & bar grilles &
registers: baseboards & radiator covers in
stamped & perforated metal; wide variety
of patterns & thicknesses.

Write in No. 1335

Liberty Head Post & Beam
802-434-2120; Fax: 802-434-5666
www.libertyheadpostandbeam.com
Huntington, VT 05462

Custom designer of timber-framed struc-
tures: joined in the Vermont tradition.
Write in No. 1233

Liberty Head Post & Beam restored the steeple for
the Jericho Community Church.

38 CLEM LABINE’S TRADITIONAL BUILDING

Monarch Products Co.
201-507-5551; Fax: 201-438-2820
www.monarchrad.com

Carlstadt, NJ 07072

Supplier of all-steel radiator enclosures:
baked-enamel finishes & grille fronts;
stock & custom; for corporate board-
rooms, offices, churches, institutions &
private residences.

Write in No. 6060
— « ак

The Groton model from Monarch Products is made of
heavy-gauge steel combined with fine grille work.

Nixalite of America, Inc.
800-624-1189; Fax: 309-755-0077
www.nixalite.com

East Moline, IL 61244

Manufacturer of humane bird-control
products: stainless-steel needle strips,
Fliteline wire deterrent & 3 types of bird
netting; visual, chemical & audible sys-
tems; free technical & planning services
with direct order.

Write in No. 370

A bird-control system from Nixalite was installed on
the large cornice ledge over the main entrance of the

Temple of Justice in Olympia, WA.

Oak Leaf Conservatories of York
800-360-6283; Fax: 404-250-6283
www.oakleafconservatories.com

Atlanta, GA 30327

Designer, custom fabricator & installer of
authentic British conservatories, orang-
eries, garden rooms, pool/spa enclosures
& glass domes: handcrafted in England;
mortise-&-tenon construction, premi-
um-grade mahogany & double glazing.
Write in No. 6860

Е ኣ „Ах ew
ss а EE |
Oak Leaf Conservatories custom designed this conser-
vatory, which features a dramatic glass dome and
upstands with operable sashes.

Pacific Columns
800-294-1098; Fax: 714-257-9628
www.pacificcolumns.com

Brea, CA 92821

Supplier of architectural millwork &
more: columns, balustrades, wainscoting,
door & window trim, metal ceilings &
walls, moldings, niches, brackets, medal-
lions, wood carvings & louvers; variety of
wood species; urethane millwork.

Write in No. 88

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|
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This cherry column with а Roman Corinthian capital
was fabricated by Pacific Columns.

Park City Rain Gutter
435-649-2805; Fax: 435-649-2605
www.pcraingutter.com

Park City, UT 84068

US. distributor of Minoletti half-round
gutter products: gutter & downspout
brackets, spherical end caps, miter corners,
smooth downspout elbows, yoke-style
outlets, leader heads, grille vents & rain
chains; copper & zinc.

Write in No. 957

Park City Rain Gutter imports rain gutters and
accessories from Europe.

PRG, Inc.

800-774-7891; Fax: 301-279-7885
www.prginc.com

Rockville, MD 20849

Supplier of crack monitors, Rilem tubes,
RecyClean system, moisture survey
equipment, epoxies for wood repair, low-
toxicity borate wood preservatives, fire-
retardant wood finishes, Proprep scrapers,
scanners, books & more.

Write in No. 3030

www.traditional-building.com

(8oo) 294-1098
CALL NOW
TO ORDER

PACITIC COLUMNS - BALUSTRADES - RAILINGS - SHUTTERS
COLUMNS TEXAS | OHIO | CALIFORNIA | GEORGIA | UTAH | OREGON | WWW.PACIFICCOLUMNS.COM

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CLASSIC GUTTER SYSTEMS

For all your half-round needs
* Up to 26' shipped
ally
* Buy direct
* Heavy duty copper,
aluminum &

imazoo, MI bob
gutters.c

WRITE IN NO. 1280

ут" meet HORN

Style Redefined

If you want performance with style from cast stone, Haddonstone redefines the standard.
From balustrading, quoins, columns, porticos, door and window surrounds to custom architectural designs
Haddonstone is sometimes surprising, always stylish.

Acquire our 200 page catalog or a CD Rom with full technical information
by registering on www.haddonstone.com or calling (719) 948-4554.

GUADDONSTONEE

HADDONSTONE (USA) LTD - 32207 UNITED AVENUE - PUEBLO - СО 81001 - (719) 948 4554 - info@haddonstone.com
COLORADO . NEW JERSEY - NORTHAMPTONSHIRE

WRITE IN NO. 4020

J

m Таңда ር І have ‘come to use the |

: E
WRITE IN NO. 8270

42 CLEM LABINE'S TRADITIONAL BUILDING

- DISCOVER THE

RENAISSANCE CONSERVATORIES

Call for your Complimentary Copy
of our Architect’s Design Guide

www.renaissanceconservatories.com

WRITE IN NO. 378

www.Dahlhaus-Lighting.com
% t t

Dahlhaus

Vintage European Lighting

Your specialist for high-end, custom made, Ҹа
exterior lighting and garden accessories.
Hand Crafted in Germany since 1968.

Our credentials keep stacking up.
EUROPEAN COPPER CHIMNEY POTS BY JACK ARNOLD

WRITE IN NO. 2767

LI BERTY UL-listed and 100 percent recyclable, our chimney pots have credentials no
HE D ን = other can touch. Constructed from recyclable copper and Stainless steel.
POST & BEAM. Inc. z з Compatible with both masonry апа pre-engineered flues. Patented. Period.

Custom Designed Timber Frames • Since 1977 1 (800) 391 0014 europeancopperchimneypots.com.

Call 800-434-2120 or send $5 for our complete portfolio: | Eu ROPEAN СО! Р mn > --
Р.О. Box 68А, Huntington, VT 05462. | p л

` WRITE IN NO. 1719

CLEM LABINE’S TRADITIONAL BUILDING 43

Park (1
sulle:

Minoletti Half Round, Copper & Zinc

Classic Beauty • Easy Assembly

U.S. Distributor of Minoletti Products
P.O. Box 082420
Park City, Utah 84008
435-649-2805
www.pcraingutter.com

WRITE IN NO. 957

When
contacting

companies
you've seen in

the issue, please

tell them
SHOP & COMPARE! AS A MANUFACTURER WE OFFER SOME OF THE LOWEST PRICES
you saw their
713/721-9200 9515. PECORATIVE METAL со. E |.
| | listing in

PayPalk
"m 15” " Ас & p каша рыс
6",12" & 24” PATTERNS ~ COMMERCIAL * RESIDENTIAL ማመ AU e

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Building.

WRITE IN NO. 190

“әм |[ Dirty Birds

Traditional * Classical ж КЕТЕР A И
designs and more — including 6,000+ finely embossed metal trims T Putan endto pest bird mess with
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unique grey iron motif castings. 5% «Premium & Economy Bird Control Spikes

) Жү uc (m | W! eBird Exclusion Netting & Net Hardware

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ro አይ sate екі
7-1/2” Lx 3-1/4” H MUN FREE Catalog 800.624.1189
; www.nixalite.com/tb
2170)

Secure Web Orders 24/7

QUA
igen

^ F133 RS — 1-3/4” Wide

— CC ረረ ያሙ.“ ረረ ረቂ
%\ S

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CN cR ሪው WRITE IN МО. 370
F8183- 1-2. 234” Wide

For Orders, Catalogs, Quotes, Information, please contact us at
129 Baker Street ж Providence * RI ж 02905 * USA
Tel: 800-556-7688 / 401-941-3900 * Fax: 401-941-3810

www.frankmorrow.com * sales@frankmorrow.com

WRITE IN NO. 1220

if you'd like to order a gift subscription
for a colleague, just call

800-548-0193

==

46 CLEM LABINE'S TRADITIONAL BUILDING

esed ردد رد‎ -=
ПИТ, TN

For more than a century, designers and architects have enriched their projects with accent elements created by the DECORATORS SUPPLY COR-
PORATION. Today we offer replicas of some fifteen thousand original designs produced in varied materials. * Readily installed by tradespeople
and do-it-yourselfers. * Uses: period restoration, remodeling, new building projects. * $35.00 for our six book set of illustrated catalogs.

WRITE IN NO.

SUSPENDED PLASTER CEILING TILES

AB QVE VA MEG. BY CALL FOR A BROCHURE
TILES INC: (504) 522-9485
FRENCH QUARTER * NEW ORLEANS
4750 S. TENTH STREET * MILWAUKEE, WI 532821 * 414-744-7118

WWW.BEVOLO.COM

WWW. ABOVEVIEW.COM

WRITE IN NO. 1537 WRITE IN NO. 166

CLEM LABINE'S TRADITIONAL BUILDING 47

BORA-CARE Protects Wood rom

Insects and Ғипді

LOW TOXICITY FOR PEOPLE, ANIMALS AND THE ENVIRONMENT

« Penetrates into logs & timbers for deep protection
4 Kills wood boring insects and decay fungi
ቀ Easy, water soluble application
ቀ Repels Termites

ዋው . Environmentally Friendly
CONTROLS Safe Near Wells or Cisterns
Termites Colorless - Odorless
መም Decay Fungi .. Easy - Convenient
` Carpenter Ants Cost Effective
Wood Boring Beetles Compatible with Finish

Preservation Resource Group

Your source for Products, Tools, Instruments & Books for Preservation and Restoration
800-774-7891 www.PRGinc.com
WRITE IN NO. 3030

NEW!

PRO 314.)
ПЕВА LAE
ONLINE

4 sd | 5 The fastest way to get supplier catalogs

4 ng an
i ури, Visa ty qu І

i ау ا‎ . $ К 3 қ

| This issue’s “Free Product Literature” Form is now online.

Literature requests are e-Mailed directly to advertisers for fastest
action. To use this online service:

Log onto www.traditional-building.com
Click on “Free Product Literature”
Select “Issue Product Literature Card”

www.traditional-building.com

Bespoke Conservatories, Garden Rooms and Orangeries

OAK LEAF CONSERVATORIES LTD * YORK * ENGLAND
Please contact us for a copy of our brochure ($10)

USA OFFICE 1-800-360-6283

. CONSERVATORIE
www.oakleafconservatories.com CONSERVATORIES OE YORK.

WRITE IN NO. 6860

መመ የ SCA Your clients will love you!!! HIN |
ሰሚዕ uc тү! | | | | ፉሪ AN X LE d | youa e to order
wj» СУШ These superb registers exude quality! The next time you're going $ ISR RRR ONY i _ rift Pte 3
ብዜ سے‎ | i 22 through а һоте take note - the expensive look оҒа home is ХОЙУУ | 一
0
diminished with а blah-looking, cheap heat register! Add a bit of le ~ ቲሪ >. 4 О 0 &
© Б panache, and the whole house quickly takes on an extraordinary
feel! Your proud homeowners will be 2 300-548-0193 |
pleased with their first class look! і E 5, kt ‚йу E.
| i= 4 "
а 2 ЖЕЗ ፳ ርሻ CURES
Е 21
ig 7 Ed LI LÀ Li LJ
H | Traditional Building
i" 8j |
n. d М
181 7 е Тһе 2007

Roundtable
/

на

" We һауе а wide assortment of heat

: registers, cold air returns, toe kicks, surface mounts,
flush mounts, opera grilles, eggrates, geometrics, and
lots more! Constructed in a vast array
of woods and metals, including bronze,
cast iron and steel, in finishes of copper,
nickel, black, brass and more!
Custom work also available!

(AEA М (509) 535-5098 or (509) 535-1237
ЛЫ ር www.heatregisters.com

WRITE IN NO. 1879

48 CLEM LABINE’S TRADITIONAL BUILDING www.traditional-building.com

AZEK.

Trim

Defines a home
without saying
m a word.

Backed by over
20 years of manu-
facturing experience,
AZEK Building Products
is a leader in premium, low
maintenance exterior products
with AZEK Trim, the #1 brand of
trim, AZEK Moulding, made with
breakthrough technology, and AZEK
Deck, the #1 brand of stain resistant decking.
For more information on all AZEK products,
visit azek.com or call 877-ASK-AZEK.

AZEK, AZEKy, А2ЕКу АЕК,

WRITE ІМ МО. 1428

&& TILE SOURCE INC.

Encaustic ድ Geometric Floor Tile
Victorian Wall & Fireplace Tile

TRADITIONAL
BUILDING

4 Indigo Run Drive #4021
Hilton Head Island, SC 29926
PHONE: 843.689.9151 • FAX: 843.689.9161
EMAIL: djmalk@aol.com

BOSTON, MA
MARCH 12-14 в HYNES CONVENTION CENTER

Reserve Your Booth Space Today

FOR MORE INFORMATION AND LITERATURE VISIT
www. Tile-Source.com
WRITE IN NO. 2846

Call 1-866-566-7840 or
Visit www.TraditionalBuildingShow.com

Concealed Fire Alarms & Emergency Lighting
that Blend in With Your Interiors

Active View

Concealed View Active View

NFPA 72 Standards - 5000 LAETL - UL Listed

Standard code required fire alarm and emergency lighting
can ruin the beauty and integrity of traditional interiors. We
offer a better, virtually undetectable alternative to bulky and
obtrusive fixtures.

Fire Alarms and Emergency Lighting Overview:

= Designed to blend in with your interiors, and remain
completely hidden until activated.

= The door rotates 180 degrees upon activation, and returns
to closed when deactivated.

= Comes in standard white powder coat finish, and can be
customized with paint, wallpaper, or applique finishes to
blend in perfectly with your interiors.

= Compact size, and sturdy vandal resistant design.
= Flush mounted in walls or ceiling.

= Easily installed into new or existing construction.

Жі GONGEALITE

LIFE SAFETY PRODUCTS
Phone: 888-542-4480

www.concealite.com

WRITE IN NO. 1759

! Searchable Product Database with 255 product categories
Е 276 online product brochures
In-depth Product Report of the Month

www.traditional-building.com

www.traditional-building.com

Internet Gateway to Historical Products

The central web site for historical products and services on the internet includes products used for restoration, renovation and new construction. There's
more information and links to historical products than you'll find on any other site.

Е 727 companies listed and indexed in the Product Database
Е Links to 673 companies and related organizations
E-mail order form for Product Literature

Log onto and then bookmark:
www.traditional-building.com

CLEM LABINE’S TRADITIONAL BUILDING 49

OShiloh Ridge Stone |
Our line of manufactured stone veneers, |
offering a wide variety of styles and colors. -

px

The Superior Rumford Fireplace. It's as old as it is new. |

Count Rumford introduced his improved fireplace design over | ái | 14 መጋ” z м i ү Р.О. Вох 2500
two hundred years ago. Апа we have been exploring its sm McKinney, TX 75070-2300
versatility ever since. With new firebrick colors from > ፈለ 972.562.9992 Office

Superior Clay, it’s easy to coordinate fireplace % Superior ን аа .. . „ 972.562.0794 Fax
ayer oration = ^а ዐ у \ 2 a info@northamericanstone.com

design with home style and décor. The only
thing old fashioned about the Superior
Rumford Fireplace is the way it

performs: Superior Ideas. : i elution, /
www.superiorclay.com 7 3 ከው | 76%е |
(740) 922-4122。(800) 848-6166 ° PO Box 352 。Uhrichsville, Ohio 44683 972 Е 562.9992 | |

WRITE IN МО. 785 WRITE IN МО. 754

www.northamericanstone.com

OAKBROOK ESSER STUDIOS
Dedicated to Excellence in Glass Art

ሠ

тты

193 а www.oakbrookesser.com = WI

pL =
ጨ ማሬ ማሬ

| al »

For structural glass like you never imagined possible, there is only опе
source, Circle Redmont. Architects and builders who have searched the
world over are making the same conclusion — only Circle Redmont can
provide the expertise, the engineering calc, and the proprietary processes М
for glass flooring, bridges, walls, vaults, and plank or glass block structures

that defy convention and last a lifetime. Online data & links for more than 673 suppliers

ion vation
Call us at 1:800-386-4866 of products & services for restoratio , renovatio
to put dramatic structural & historically inspired new construction for civic
glass to work in your design. ፤ & commercial projects.

www.circleredmont.com . ር CIRCLE REDMONT www.traditional-building.com

WRITE IN NO. 379

50 CLEM LABINE’S TRADITIONAL BUILDING

Froduct Literature or ІШ out the card at page 34. То order literature from all of the

j- 3 ж? nter Мо 9810
ies listed here, enter No. 9819.

Architectural Products by
Outwater, LLC

800-835-4400; Fax: 800-835-4403
www.outwater.com

Bogota, NJ 07603

Manufacturer of 65,000+ decorative

plasterwork; crystalline etched-glass designs;
murals, mosaics & statuary; for public &
religious buildings; since 1889.

Write in Мо. 1841

building products: architectural moldings
& millwork, columns, capitals, wrought-
iron components, balustrading, door hard-
ware, lighting, ceiling tile, furniture & cabi-
net components, art-glass supplies & more.
Write in No. 1088

Canning Studios
203-272-9868; Fax: 203-272-9879
www.canning-studios.com

Cheshire, CT 06410 UNOS) BN ምዕ
ኻ " ኳ
Restorer ደ: designer of decorative finishes, ~. Ж ቂር. =F
ornamental plaster & wood: historic-
paint analysis; art-glass restoration; plaster

This large stained-glass window was restored by
Conrad Schmitt Studios for Grace Episcopal Church
in Madison, WI; it was given to the church by Esther
Green Vilas in 1837 in memory of her husband and
six children.

consolidation & stabilization; decorative
painting, murals, interior & exterior
gilding & wood graining; metal & stone
cleaning.

een ae EverGreene Painting Studios, Inc.

212-244-2800; Fax: 212-244-6204
www.evergreene.com

New York, NY 10001

Decorative-arts studio: murals, decorative
painting, gilding, plaster, wood, metal,
stained glass, stone & mosaics; new design,

Conrad Schmitt Studios, Inc.
800-969-3033; Fax: 262-786-9036
www.conradschmitt.com

New Berlin, WI 53151

Creator, conservator & restorer of decora-

tive painting: stained & art glass; ornamental conservation & restoration: ecclesiastical,

of fine hardware with the hallmarks
of traditional style

HARDWARE

an Al Bar Wilmette Platers Company
FINE PLATING & FINISHING OF PERIOD HARDWARE

127 Green Bay Road 。 Wilmette, IL 60091 e 866 37

www.wilmettehardware.com

WRITE IN NO. 2636

The fastest way

to get Product Literature!

Order free Product Literature
from this issue at

www.traditional-building.com

www.traditional-building.com

institutional, public & commercial proj-
ects; offices in NYC & Chicago.

Write in No. 2460 for decorative painting;

2678 for plasterwork

John Hardman Trading Co., Ltd
0121-429-7609; Fax: 0121-420-2316
www.hardmantrading.co.uk

Smethwick, West Midland, B67 5DP UK

Custom fabricator of stained-glass win-
dows: Neo-Gothic, Victorian Gothic styles
& more; gilding & stenciling; conserva-
tion, restoration & installation services.
Write in No. 1951

John Tiedemann, Inc.
877-600-2666; Fax: 201-991-3419
www.johntiedemann.com

North Arlington, NJ 07031

Restorer of interior elements: interior
painting & design, liturgical renderings,
decorative granite flooring, faux finishes,
murals & frescoes, gilding, art glass, fine
art, paint & plaster analysis, historic
analysis & testing.

Write in No. 1765

Reflection Studios

510-652-4884; Fax: 510-658-6138
www.reflectionstudios.com

Emeryville, CA 94608

Designer, fabricator & installer of fine-art
glass: commercial, ecclesiastical & residen-
tial; conservation & restoration of historic
stained glass; design, construction & ren-
ovation of stained-glass domes & ceilings.
Write in No. 7930

Before Restoration

q

During

2
ዳሥ © ^ t
The glass dome at the Pacific County Courthouse in
South Bend, WA, was designed and fabricated by
Reflection Studios.

NS ENS

Restoric, LLC

847-492-0416; Fax: 847-492-9816
www.restoric.com

Evanston, IL 60201

Restoration & construction manage-
ment: civic, religious & institutional
buildings; consultant on stained glass,

cis

This detail of a window in the Chicago Theatre illus-
trates the film strips, reels and monogram of the the-
ater entrepreneurs Balaban & Katz; when restoring it,
Restoric was able to preserve more than 90 percent of
the original glass and lead came.

After Restoration

When you choose Willet Hauser to preserve your
legacy, every detail is lovingly restored in all its

architectural integrity and beauty, backed by our
long-standing tradition of restorative excellence.

WILLET HAUSER

Architectural Glass

800-533-3960

www.willetglass.com

info@ willethauser.com

WRITE IN NO.2674

CLEM LABINE'S TRADITIONAL BUILDING 51

АКТ GLASS

This is опе of three dozen custom stained-glass win-
dow designs created by Rohlf's Studio for The Shrine
of Our Lady of Guadalupe in La Crosse, WI.

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„ ^

ча 1: 4
a

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«

Rohlf's Stained & Leaded

Glass Studio

800-969-4106; Fax: 914-699-7091
www.rohlfstudio.com

Mount Vernon, NY 10550

Designer, fabricator & installer of new
stained & leaded glass: restoration &
replication; protective glazing; beveled,
carved & fused/slumped glass; steel
casement retrofitting; mosaics; estab-
lished in 1920.

Write in No. 6240 for stained glass;

1480 for windows

Willet Hauser Architectural Glass
800-533-3960; Fax: 871-495-9486
www.willethauser.com

Winona, MN 55987

Art-glass studio: hand-carved, leaded &
faceted stained glass; design, fabrication,
repair & historical restoration; mosaics;
for religious, commercial & residential
buildings; since 1898.

Write in No. 2674

Sweet
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Willet Hauser Architectural Glass restored two large
Tiffany windows for Brown Memorial Park Avenue

Presbyterian Church in Baltimore, MD.

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SINCE 1920
DIVERSITY
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ሀር ንዘሾነ STAINED 4 LEADED GLASS INC. - 78550. 500.1М. MT.VERNON, NY 10550
TfL- 914-699-4848, TOLL FREE - 800-969-4106, FAX - 914-699-7091

E-MAIL - ROHLF1 GOL СОМ, OR VISIT OR WEB SITE - WWW.ROHLFSIUDIO.COM

52 CLEM LABINE’S TRADITIONAL BUILDING

WRITE IN NO. 6240

TRADITIONAL
ax BUILDING

EXHIBITION AND
= CONF E

BOSTON, MA
MARCH 12-14

HYNES CONVENTION

CENTER

Reserve Your Booth
Space Today

Call 1-866-566-7840 or
Visit

www. TraditionalBuildingShow.com

The internet

у
to historical
products &
literature
is just
One

click

away

www.traditional-building.com

Jobn Dardman & Co. Ltd

Established 1838

Lightwoods House, Lightwoods Park, Adkins Lane,
Birmingham, England, B67 5DP , UK email: hardman.trading@gmail.com
www.hardmantrading.com & www.johnhardman.org

Т: 00 44 121 4297609 Е: 00 44 121 420 2316

Specialists in traditional figurative stained glass

po POS ; г . А . .
Waa አ. Faithful replication of ancient window design
“ቺም ጋ ТРЫ:

፡% Ше Contemporary artistic commissions in glass

Mural decoration, gilding & stencilling

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ww.traditional-building.com WRITE IN NO. 1951 CLEM LABINE’S TRADITIONAL BUILDING 53

To order product lit

Product Literature" or fill out the card а

companies listed here, enter No. 9820.

rature, go to www.traditional-bt

click on “Free

d በር
е from all of the

Canning Studios
203-272-9868; Fax: 203-272-9879
www.canning-studios.com

Cheshire, CT 06410

Restorer & designer of decorative finishes,
ornamental plaster & wood: historic-
paint analysis; plaster consolidation &
stabilization; decorative painting, murals,
interior & exterior gilding & wood
graining; metal & stone cleaning.

Write in No. 5100

A team from Canning Studios restored the murals and
decorative paining at Trinity Church in Boston, MA.

Conrad Schmitt Studios, Inc.
800-969-3033; Fax: 262-786-9036

www.conradschmitt.com
New Berlin, WI 53151

Creator, conservator & restorer of decora-
tive painting: stained & art glass; ornamen-
tal plasterwork; crystalline etched-glass
designs; murals, mosaics & statuary; for
public & religious buildings; since 1889.
Write in No. 8040

When restoring the stained-glass windows and interi-
or decorative painting for The Cathedral of Christ the
King, Superior, WI, Conrad Schmitt Studios created
this 15'/:-ft. Pantocrator mosaic for the apse.

EverGreene Painting Studios painted this mural, “The
Ascension of Christ,” for the Baltimore Basilica.
EverGreene Painting Studios, Inc.
212-244-2800; Fax: 212-244-6204
www.evergreene.com

New York, NY 10001

Decorative-arts studio: murals, decorative
painting, gilding, plaster, wood, metal,
stone & mosaics; new design, conserva-
tion & restoration; ecclesiastical, institu-
tional, public & commercial projects;
offices in NYC & Chicago.

Write in No. 2460 for decorative painting;

2678 for plasterwork

“Neptune Revisited,” created by Fishman Mosaics,
pays homage to Roman-era pavements in North
Africa.

Fishman Mosaics
305-758-1141; Fax: Same as phone
www.georgefishmanmosaics.com
Miami Shores, FL 33138

Designer & fabricator of mosaics: tradi-
tional glass smalti & stone; pictorial
mosaics in the Classical style; custom
mosaic artwork for public spaces, hospi-
tality & religious projects.

Write in No. 183

John Tiedemann, Inc.
877-600-2666; Fax: 201-991-3419
www.johntiedemann.com

North Arlington, NJ 07031

Restorer of interior elements: interior

painting & design, liturgical renderings,
decorative granite flooring, faux finishes,
murals & frescoes, gilding, art glass, fine
art, paint & plaster analysis, historic
analysis & testing.

Write in No. 1765

This mural was designed and painted by John
Tiedemann, Inc.

Lynne Rutter Murals &
Decorative Painting
415-282-8820; No fax
www.lynnerutter.com

San Francisco, CA 94107

Creator of fine art murals: trompe l'oeil
& wall & ceiling murals; painted onsite
or on canvas to be installed anywhere;

church work; works nationally & inter-
nationally.

Write in No. 4710

This ornamental ceiling mural was custom painted on
canvas by Lynne Rutter Murals & Decorative
Painting for an 860-sq.ft. hexagonal ceiling in
Orinda, CA; each wedge is different in size and
shape but the painting gives the illusion of symmetry.

Willet Hauser Architectural Glass
800-533-3960; Fax: 877-495-9486
www.willethauser.com

Winona, MN 55987

Art-glass studio: hand-carved, leaded &
faceted stained glass; design, fabrication,
repair & historical restoration; mosaics;
for religious, commercial & residential
buildings; since 1898.

Write in No. 2674

MOSAIC
ARTWORK
by
GEORGE
FISHMAN

a

103 NE 99th Street Miami Shores
Florida 33138 305 758-1141
www.georgefishmanmosaics.com
gfmosaicsGbellsouth.net
Custom Mosaics in Glass & Stone

WRITE IN NO. 183

кые == =
When contacting
companies you've seen in the issue,
please tell them
you saw their listing in

Traditional Building.

س

restoration &
new construction

ee pre

A

аана

ፈጠር

гоча

54 CLEM LABINE'S TRADITIONAL BUILDING

E.R. BUTLER & CO.

www.traditional-building.com

IS OUR INSPIRATION

Church Painting ር Decorating 2
FOR OVER 50 YEARS!

FAUX FINISHES GILDING MURALS AND FRESCOS

SOURCELIST

Sculpture & Statuary

To order product literature, go to www.traditional-building.com and click on “Free

Product Literature” or fill out the card at page 34.To order literature from all of the

companies listed here, enter No. 9821.

Materials and technology for casting and sculpture are
available from Ball Consulting.

Ball Consulting, Ltd.
724-266-1502; Fax: 724-266-1504
www.ball-consulting-Itd.com
Ambridge, PA 15003

Supplier of moldmaking materials &
casting compounds: alginate, latex rubber,
polyurethane & silicone for moldmaking;
СЕКС, gypsum, polymer-modified gyp-
sum, plaster & polyurethane casting com-
pounds; terra-cotta substitutes.

Write in No. 7260

Boston Valley Terra Cotta
888-214-3655; Fax: 716-649-7688
www.bostonvalley.com

Orchard Park, NY 14127

Supplier of architectural terra-cotta
products: roof tile & Terraclad; columns,

capitals, cornices, balustrades, garden sculp-
ture & chimneys; standard & custom shapes
& colors; replacements & new designs.
Write in No. 160

Cardine Studios
540-439-6460; Fax: 540-439-6462
www.cardinestudios.com

Bealeton, VA 22712

Designer & fabricator of hand-forged
metalwork: furnishings, pot racks, light-
ing, fireplace, gates, door hardware,
straight & curved railings, panels & balus-
ters; iron, bronze, copper, aluminum &
steel; national market.

Write in No. 1867

Conrad Schmitt Studios created this cast-bronze statue
of St. Dominic for St. Dominic Church in Brookfield,
WI; it is the first of five statues for a new Prayer
Garden.

Conrad Schmitt Studios, Inc.
800-969-3033; Fax: 262-786-9036
www.conradschmitt.com

New Berlin, WI 53151

Creator, conservator & restorer of decora-
tive painting: stained & art glass; ornamen-
tal plasterwork; crystalline etched-glass
designs; murals, mosaics & statuary; for
public & religious buildings; since 1889.
Write in No. 8040

John Tiedemann, Inc.
877-600-2666; Fax: 201-991-3419
www.johntiedemann.com

North Arlington, NJ 07031

Restorer of interior elements: interior
painting & design, liturgical renderings,
decorative granite flooring, faux finishes,
murals & frescoes, gilding, art glass, fine
art, paint & plaster analysis, historic
analysis & testing.

Write in No. 1765

This is one of many cast-stone statues available from

Kenneth Lynch & Sons.

Kenneth Lynch & Sons, Inc.
203-264-2831; Fax: 203-264-2833
www.klynchandsons.com

Oxford, CT 06478

Manufacturer of ornamental metalwork
& cast-stone products: planters, urns,
benches, fountains, statuary, topiary, sun-
dials & weathervanes; cast stone, cast &
wrought iron, lead & bronze; stock &
custom designs.

Call for more information.

This 915-fi.-tall statue of Lord Nelson was produced
by the artisans at Traditional Cut Stone.

Traditional Cut Stone, Ltd.
416-652-8434; Fax: 905-673-8434
www.traditionalcutstone.com
Mississauga, ON, Canada 155 151

European master carvers: architectural
ornamentation, ecclesiastical specialties
& monumental statuary; restoration; his-
torical reproduction in limestone, sand-
stone & marble; stone design with clay
& plaster models.

Write in No. 2902

Reasons

58 CLEM LABINE’S TRADITIONAL BUILDING

Find craftspeople skilled in traditional building trades

Read architect profiles
Keep up to date on important issues such as sustainability
Read reviews of important recent books

Read provocative opinion pieces

preservation needs in one place

to visit the Traditional Building website:

Find authentic products for historic restoration or traditional new construction projects

Get free product literature offered by the hundreds of companies in our database

Read about recent traditional new construction and restoration projects

1

2

3

4

5

6 Discuss current issues with your colleagues in the Talk section
7

8

9
10

Save time, money and energy by satisfying all of your traditional building and historic

www.traditional-building.com

www.traditional-building.com

М,

АТҚОМ: HIS ROYAI

i

PA

The International Network for Traditional Building, Architecture &
Urbanism 15 a worldwide organization dedicated to the support of
traditional building, the maintenance of local character and the cre-
ation of better places to live. www.intbau.org

BECOME АФМЕМВЕК OF
eek IN T PIS at 8

CLASSICAL ARCHITECTURE
& CLASSICAL AMERICA

The leading educational resource for
the Classical tradition in architecture

When you become a member, you not only support
its educational mission but also gain access to the
Institute’s wide range of programs and publications.
National expansion through local chapters will mean
closer association in all 50 states.

[| Annual Journal: The Classicist

[| Lectures, Tours and Conferences

O Travel Programs

Book Series

Continuing Education Courses and Programs

A well-informed voice in advocacy and traditional
design excellence

Various levels of membership are available; consult
www.classicist.org for details. Send check directly to
the Institute at the address below, or for more
details log onto the Institute web site at:

www.classicist.org

JtH-E 11095 gS OCF
CLASSICAL ARCHITECTURE
& CLASSICAL AMERICA
20 W. 44th Street
New York, NY 10036
Telephone (212) 730-9646 Fax (212) 730-9649
e-mail: institute@classicist.org
web site: www.classicist.org

WRITE IN NO. 1340

www.traditional-building.com

ARCHITECTURAL ORNAMENTAL METAL & STONE

е”

Classic

Sculpture

These are but a few of more than 5000 unique
products you'll find in our catalog: Zhe Book
of Garden Ornament - Millennium Edition.

Benches, Fountains, Pools, Sculpture & Statuary,
Planters, Urns, Topiary, Sundials, Weathervanes
and more. Consisting of Lead, Bronze & Cast
Stone products, each work is individually

crafted to satisfy the clients" desire and
imagination for unique character, purpose

and performance.

Send $15.00 today for your copy of our
catalog with an included current pricelist.
A complimentary copy is available to
members of ASLA, AIA and ASID.

Please note: Books are shipped by UPS; P.O. Box numbers are not acceptable.

KENNETH LYNCH & SONS
TRADITIONAL CRAFTSME

14 WiLLENBROCK ROAD, OXFORD, CONNECTIC

(203) 264-2831 FAX (203) 264-2833
EMAIL: INFO@KLYNCHANDSONS.COM VISIT OUR WEBSITE АТ: w

=
Ble

consulting .

ка

WRITE IN NO. 7260

CLEM LABINE'S TRADITIONAL BUILDING 59

SOURCELIST

Ecclesiastical Furnishings & Specialties

To order product literature, go to www.traditional-building.com and click on “Free

Product Literature" or fill out the card at page 34. To order literature from all of the

companies listed here, enter No. 9822.

Baker Liturgical Art, LLC
860-621-7471; Fax: 860-621-7607
www.bakerliturgicalart.com
Southington, CT 06489

Supplier of liturgical furnishings & art:
complete range of restoration services,
design to final decoration; baptismal fonts,
mural restoration, statues, tile & wood
flooring, custom doors & millwork.

Write in No. 1869

Baker Liturgical Art restored the interior of Holy
Family Church in Watertown, NY.

Brosamer's Bells
517-592-9030; No fax
www.brosamersbells.com
Brooklyn, МІ 49230

Supplier of pre-owned bells: more than
40,000 Ibs. in stock; restoration of cast-
bronze bells; yard, fire engine, railroad,
church & tower bells; many styles; all sizes.
Write in No. 7130

Brosamer's Bells supplies pre-owned cast-bronze bells
for railroads, churches, towers and other applications,

Cardine Studios
540-439-6460; Fax: 540-439-6462
www.cardinestudios.com

Bealeton, VA 22712

Designer & fabricator of hand-forged
metalwork: furnishings, pot racks, lighting,
fireplace, gates, door hardware, straight &
curved railings, panels & balusters; iron,
bronze, copper, aluminum & stainless;
national market.

Write in No. 1867

This metal cross was designed and fabricated by
Cardine Studios.

Century Guild, Ltd., The
877-376-5353; Fax: 336-376-1997
www.thecenturyguild.com

Carrboro, NC 27510

Custom fabricator of one-of-a-kind
antique reproductions: altars, pulpits,
lecterns & other chancel or sanctuary
pieces; solid hardwoods or veneers;
since 1982.

/

The Century Guild created the quarter-sawn high
altar and reredos for the Philips Chapel, Canterbury
School in Greensboro, NC.

Conrad Schmitt Studios, Inc.
800-969-3033; Fax: 262-786-9036
www.conradschmitt.com

New Berlin, WI 53151

Creator, conservator & restorer of decora-
tive painting: stained & art glass; ornamen-
tal plasterwork; crystalline etched-glass
designs; murals, mosaics & statuary; for
public & religious buildings; since 1889.
Write in No. 1839

60 CLEM LABINE’S TRADITIONAL BUILDING

Conrad Schmitt Studios provided decorative painting
services, including faux-stone painting, for The Basilica
of Holy Hill, National Shrine of Mary, Help of
Christians in Hubertus, WI.

Fiberglass Specialties, Inc.
800-527-1459; Fax: 903-657-2318
www.fsiweb.com

Henderson, ТХ 75653

Manufacturer of FRP steeples, domes,
cupolas, columns, railings & baptismal
pools: dozens of stock designs plus modi-
fications, replication & custom solutions;
architect on staff to assist with design.
Write in No. 7310

G.R. Hoelzeman Studios
501-416-0514; Fax: 501-669-2687
www.grhstudios.com

Hattieville, AR 72063

Liturgical consultant, designer & artist of
custom wood sculpture & carved panels

for liturgical spaces: imagery is informed
by an extensive theological & art-history
background.

This hearse was designed in a simplified Gothic style
for а church built іп 1935 іп a Mission style by
G.R.Hoelzeman Studios.

Geissler, Inc.

800-862-3159; Fax: 208-938-4721
www.rgeissler.com

Eagle, ID 83616

Manufacturer of solid-oak choir chairs:
rush seats & optional kneelers &
bookracks; since 1877.

Write in No. 1027

с NE
M PRI Ny
tss җы Жы;

2% ч.
Geissler, a specialist in church furniture, manufactures
oak choir chairs with rush seats.

Traditional Cut Stone, Ltd.
416-652-8434; Fax: 905-673-8434
www.traditionalcutstone.com
Mississauga, ON, Canada 155 151

European master carvers: architectural orna-
mentation, ecclesiastical specialties & monu-
mental statuary; restoration; historical repro-
duction in limestone, sandstone & marble;
stone design with clay & plaster models.
Write in No. 2902

Walter De Groot
631-246-9091; Fax: Same as phone
www.dghistorical.com

Setauket, NY 11733

Custom architectural millwork: restora-
tion & reproduction of windows, doors,
leaded glass, shutters, sculpture, storefronts,
paneling, ecclesiastical furnishings, lighting
& cabinetry; steel & wood furniture;
ornamentation restoration & reproduc-
tion; pattern & mold making; consulting.

Wilbur, Frederick - Woodcarver
434-263-4827; Fax: 434-263-5958
www.frederickwilbur-woodcarver.com
Lovingston, VA 22949

Wood carver: ecclesiastical elements,
Gothic tracery, reredos & wood screens;
columns, furniture, mantels, casing/mold-
ing, friezes, rosettes, heraldry, signage &
doors; all wood species; original designs;
reproductions.

Write in No. 1650

> «De <> «Ип» «dp» erm» en

Frederick Wilbur restored the carving and gold-leaf
for this baptismal screen at the Grace & Holy Trinity
Cathedral in Kansas City, MO.

www.traditional-building.com

UNCOMPROMISING QUALITY IN
LITURGICAL DESIGN.

Custom marble appointments with inlaid mosaic, interior painting, restored and refinished brass tabernacle, marbleized and gold leafed
columns, repaired and restored mosaic mural, repaired and refinsihed terazzo flooring, new lighting system & fixtures, state-of-the-art sound
system, and custom choir chairs.

St. Francis of Assisi Church, New York, New York — Rev. Jerome Massimino, OFM; Guardian

* Liturgical Design * Construction Management * Painting & Decoration
* Marble Appointments & Flooring * Mural & Mosaic Restoration * Stained Glass
* Audio & Video Systems * Marble & Wood Carved Statues * Millwork

Da ys Situr, TA LLC

Church Restoration / Church Renovation

Surf the
Industry

Online data &

links for more than

Brian T. Baker - Liturgical Consultant

136 Curtiss Street * Southington, CT 06489 * P: 860-621-7471 * Е: 860-621-7607 * bakerart@sbcelobal.net * bakerliturgicalart.com

WRITE IN NO. 1869

Brosames Sells

THE WORLD’S LARGEST DEALER OF
PRE-OWNED BRONZE & CAST IRON BELLS

WE ARE THE

| AFFORDABLE

/ SOURCE FOR

| CHURCH
BELLS.

We purchase and remove
7” bells that are no longer

к needed, and provide bells
» forthose who need them.
Our prices are unbeatable.

CHECK NEW BELL PRICES, THEN CALL US.
We have a list of many satisfied customers worldwide.
In addition to church and tower bells, we also carry steam locomotive
and fire bells, and yard bells in many shapes and sizes.

Visit our website to see hundreds of bells.

www.brosamersbells.com
212 Irwin St., Brooklyn, Michigan 49230

Phone: 517-592- 9030 * Fax: 517-592-4511

673 suppliers of Solid Oak

products & services

for restoration,

renovation and

historically inspired

new construction

for civic &

commercial projects.

WWW.

traditional-building

with FIBRE RUSH SEAT

Since 1877
R.Geissler Inc.

2641 E. Greystone ርር Eagle, | ID 83616
Phone: (800) 862-3159
www.rgeissler.com

com

WRITE IN NO. 7130

WRITE IN NO. 1027

www.traditional-building.com CLEM LABINE'S TRADITIONAL BUILDING 61

SOURCELIST

Doors & Door Hardware

To order product literature, go to www.traditional-building.com and click on “Free

Product Literature" or fill out the card at page 34. To order literature from all of the

companies listed here, enter No. 9823.

Al Bar-Wilmette Platers
847-251-0187; Fax: 847-251-0281
www.albarwilmette.com

Wilmette, IL 60091

Restorer of lighting fixtures & antique
hardware: period crystal & metal light
fixtures; bronze, brass, copper, nickel,
pewter, gold, silver & chrome; matching
of existing hardware in restoration proj-
ects; will match any finish.

Write in No. 2636

Al Bar-Wilmette
Platers plates
new hardware to
match historic
finishes and
restores historic
hardware and
metal fixtures.

Allen Architectural Metals, Inc.
800-204-3858; Fax: 256-761-1967
www.allenmetals.com

Talladega, AL 35161

Manufacturer of ornamental metal: street
amenities, signage, lighting, columns,
building components, doors, cupolas,
finials, cresting, architectural elements,
canopies, bollards, railings & grilles; vari-
ety of alloys & finishes.

Write in No. 1005

Architectural Products by
Outwater, LLC

800-835-4400; Fax: 800-835-4403
www.outwater.com

Bogota, NJ 07603

Manufacturer of 65,000+ decorative
building products: architectural moldings
& millwork, columns, capitals, wrought-
iron components, balustrading, door
hardware, lighting, ceiling tile, furniture
& cabinet components & more.

Write in No. 1088

The range of decorative door hardware from Outwater
includes these doorknobs and plates.

Ball & Ball Hardware
610-363-7330; Fax: 610-363-7669
www.ballandball.com

Exton, PA 19341

Custom manufacturer & supplier of
ornamental metalwork & hardware: door,
window, shutter, gate & furniture hard-
ware; fireplace tools; wrought iron, steel,
aluminum, bronze, brass, copper & cast
iron; custom reproductions.

Write in No. 2930

Xm

A
жа W

Ball & Ball fabricates and casts custom door hardware.

Baltica

866-830-9174; Fax: 310-349-3443
www.baltica.com

Vilnius, Lithuania LT 01129

Manufacturer of handcrafted, European-
made door, window & cabinet hardware:
cremone bolts, doorknobs & knockers,
hinges, lever handles, push plates & more;
Gothic & Baroque; showrooms worldwide.
Write in No. 411

The Davide Como
thumblatch hardware
for entry doors is
available from Baltica
in antique nickel.

Cardine Studios

540-439-6460; Fax: 540-439-6462
www.cardinestudios.com

Bealeton, VA 22712

Designer & fabricator of hand-forged
metalwork: furnishings, pot racks, light-
ing, fireplace, gates, door hardware,
straight & curved railings, panels & balus-
ters; iron, bronze, copper, aluminum &
stainless; national market.

Write in No. 1867

62 CLEM LABINE’S TRADITIONAL BUILDING

This period-style door hardware was fabricated by
Cardine Studios.

Coppa Woodworking
310-548-4142; Fax: 310-548-6740
www.coppawoodworking.com

San Pedro, CA 90731

Manufacturer of wood screen doors &
storm doors: more than 300 styles; pine,
Douglas fir, oak, mahogany, cedar, knotty
alder & redwood; any size; many options;
arch & roundtop, double, French doors,
doggie doors, screens & more.

Write in No. 9600

Craftsman /
Mission style
doors are
available
from Coppa

Woodworking.

Craftsmen Hardware Co.
660-376-2481; Fax: 660-376-4076
www.craftsmenhardware.com
Marceline, MO 64658

Supplier of Arts & Crafts-style hardware:
door, window, cabinet & drapery hard-
ware; grilles; hand-hammered copper;
interior & exterior lighting; pendants,
sconces, chandeliers, lanterns, table lamps
& switch plates.

Write in No. 6980

This entry set
from Craftsmen
Hardware is a
recent addition
to the firm
extensive line
of period door
and cabinet
hardware.

Crown City Hardware Co.
626-794-1188; Fax: 626-794-2064
www.crowncityhardware.com
Pasadena, CA 91104

Supplier of hardware: door hardware,
casement fasteners & adjusters; sash locks,
lifts, balances & weights; screen fasteners
& hangers; glass knobs, bin pulls, switch
plates & more; iron, brass, glass & crystal;
Victorian & Arts & Crafts styles.

Write in No. 432

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“ዣ mom mom cmm omm m а ағ, መ
mom mmm жож жул, ጠም mom а, ж», መ” ሪቅ:

These Victorian-style back plates and matching door-
knobs are manufactured by Crown City Hardware.

E.R. Butler & Co.
212-925-3565; Fax: 212-925-3305
www.erbutler.com

New York, NY 10012

Manufacturer of historically accurate,
premium -quality hardware for doors,
windows & furniture: brass, bronze,
nickel, silver & wrought iron; complete
design selections of Early American peri-
od hardware; many finishes.

Write in No. 2260

E.R. Butler’s model #1426/1335 French door hard-
ware is fit for a castle — complete with a crown on the
crest.

www.traditional-building.com

Strength in

Our Roots,
Makes Us

Stronger Today.

Since we opened our doors over 90 years ago,
Crown City Hardware has committed itself to providing
the most extensive collection of restoration, decorative
and antique hardware coupled with unparalleled
customer service. From the modest bungalow, to a
period movie set, to everything in between, our vast
collection now encompasses over 100,000 hardware
items in a wide range of prices, design periods and

finishes all supported by our expert service.

We invite you to shop our collection via the web, catalog or store:
www.restoration.com * The Crown City

Collection Vol. 7 - 1047 М. Allen Ave., Pasadena, CA

CROWN CITY HARDWARE

“Get lost in the details”

WRITE IN NO. 432

Photos from our Pasadena store and an
actual customer quote: “This is not a
hardware store, it’s hardware heaven!”

DOORS « DOOR

Grabill Windows & Doors
810-798-2817; Fax 810-798-2809
www.grabillwindow.com

Almont, MI 48003

Custom manufacturer of solid-wood,
bronze & aluminum-clad windows &
doors: lift & slide doors, casements, tilt-turn,
European in-swing & historically accurate
double-hung windows with weights &
pulleys; residential & commercial.

Write in No. 1910

Grabill manufactured these arched-top mahogany French
doors with leaded-glass lites and mahogany /bronze-
mesh screen doors.

Guerin, P.E.

212-243-5270; Fax: 212-727-2290
www. peguerin.com

New York, NY 10014

Manufacturer of high-end handcrafted
brass & bronze hardware & accessories:
for doors, windows, furniture, shutters,
objets d'art & bathroom accessories;
handcrafted sconces & lighting fixtures.
Write in No. 1166

These door hinges are just a few of the many styles
offered by РЕ. Guerin.

Hamilton Sinkler
866-900-3326; Fax: 212-760-3362
www.hamiltondeco.com

New York, NY 10016

Supplier of window & door hardware,
cast-metal registers & bathroom acces-
sories: many historical styles & finishes.
Write in No. 1947

The cast-bronze Jefferson lever is handcrafted by
Hamilton Sinkler.

HARDWARE

Hammersmith Studios
978-369-5424; No fax
www.hammersmithstudio.com
Concord, MA 01742

Designer & custom fabricator of orna-
mental metalwork: doors, windows, light
fixtures, hardware & more; restoration
services.

Write in No. 1950

Historic Doors

610-756-6187; Fax: 610-756-6171
www.historicdoors.com

Kempton, PA 19529

Custom fabricator of wood windows &
doors: casing; circular & crown moldings;
complete entryways; wood storefronts;
restoration & period-style construction.
Write in No. 3570

This quarter-sawn white-oak door was built by
Historic Doors for an Andrew Carnegie home.

Historical Arts & Casting, Inc.
800-225-1414; Fax: 801-280-2493
www.historicalarts.com

West Jordan, UT 84088

Designer & custom fabricator of orna-
mental metalwork: doors, windows, hard-
ware, stairs, balustrades, registers, fences,
lighting, gutters, columns, weathervanes,
planters & more; iron, bronze, aluminum
& steel; restoration services.

Write in No. 1210

=

This 11-ft. custom bronze door was manufactured by
Historical Arts & Casting with a patina designed to
age gracefully in any climate.

House of Antique Hardware
888-265-1038; Fax: 503-233-1312
www.houseofantiquehardware.com
Portland, OR 97232

Manufacturer & supplier of vintage
reproduction door, window, cabinet &

furniture hardware & accessories: Federal,

64 CLEM LABINE’S TRADITIONAL BUILDING

Victorian, Colonial Revival, Craftsman &
Deco styles; push-button switches & plates;
registers & grilles.

Write in No. 1096

James Peters & Son, Inc.
215-739-9500; Fax: 215-739-9779
www.jamespetersandson.com
Philadelphia, PA 19122

Manufacturer of ornamental gate, shutter
& barn door hardware: gate, barn & sta-
ble hinges; shutter bolts, shutter dogs &
pull rings; garage doors.

Write in No. 1240

James Peters & Son produces its traditional-design,
heavy-duty, L-type shutter hinges in offsets from zero
through 2% in.

Kayne & Son Custom Hardware
828-667-8868; Fax: 828-665-8303
www.customforgedhardware.com
Candler, NC 28715

Manufacturer of forged- & cast-metal
hardware: strap, H, HL, butterfly & butt
hinges; thumb-latch locksets, gate hard-
ware, shutter dogs & more; fireplace
tools; bathroom accessories & kitchen
equipment; restoration; catalog $5.

Call for more information.

ሬክ qa Жү
ኔ-5 i

Kayne and Son fabricated the historically styled hard-
ware for these doors.

Kingsland Architectural Millwork
860-542-6981; Fax: 860-542-1752
www.kingsland-shutters.com

Norfolk, CT 06058

Manufacturer of exterior shutters, doors
& entryways in Honduras mahogany:
louvered, raised panel, cutouts & repro-
ductions; mortise-&-tenon construction;
copper caps, fixed control rods & hard-
ware; paneled & louvered arched tops.

Write in No. 4573 for wood doors; 4574 for screen
doors.

Kingsland fabricated these custom-designed Gothic-style
paneled doors in Honduras mahogany.

Marvin Windows and Doors
888-537-7828; Fax: 651-452-3074
www.marvin.com

Warroad, MN 56763

Manufacturer of wood windows & doors:
clad & clad-wood; solid wood entry doors;
special shapes; custom sizes & more than
11,000 standard sizes; historical replicas;
interior & exterior storm windows.
Write in No. 1907

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These arch-top French doors from Marvin Windows
and Doors were designed to complement the wood
interior of this room; features such as the one-piece
exterior extruded-aluminum-clad top rail and the
commercial-grade Kynar finish are designed to make
the doors long lasting and easy to maintain.

Notting Hill Decorative Hardware
262-248-8890; Fax: 262-248-7876
www.nottinghill-usa.com

Lake Geneva, WI 53147

Distributor of high-end hardware: knobs
& pulls of hand-cast pewter or bronze,
additional plating options, semi-precious
stones, enameling & hand painting;
Classical, old world, island & lodge motifs.
Write in No. 319

This Fleur-de-Lis pull from Notting Hill is available
in antique brass, pewter and copper finishes.

Parrett Windows
800-541-9527; Fax: 715-654-6555
www.parrettwindows.com
Dorchester, WI 54425

Manufacturer of handcrafted custom
wood & clad-wood windows & doors:
fixed or operating; any geometric shape;
numerous wood species; custom wood
doors; complete finishing capabilities; cer-
tified & tested; nationwide distribution.
Write in No. 3003

Schwartz's Forge &
Metalworks, Inc.
315-841-4477; Fax: 315-841-4694
www.schwartzsforge.com

Deansboro, NY 13328

Custom fabricator of architectural metal-
work: straight, spiral & curved stairs; doors,
railings, newel posts, lighting, gates, fences,
grilles & fountains; forged bronze, monel
steel & stainless steel; historical restoration.
Write in No. 1218

Schwartz’s Forge fabricated this entryway

www.traditional-building.com

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TISTIC HARDWARE

BATHROOM FITTINGS & ACCESSORIES,
DECORATIVE HARDWARE, FIXTURES & FURNITURE

VISIT OUR BRAND-NEW, FULLY SEARCHABLE WEBSIT г
PEGUERIN.COM 212-243-5270

WRITE ІМ МО. 1166

DOORS & DOOR

The Nanz Company
212-367-7000; Fax: 212-367-7375
www.nanz.com

New York, NY 10013

Designer & manufacturer of period door
& window hardware: Gothic, Moderne
& other styles; metal finishing; consulta-
tion, specification & restoration services.

Call for more information.

The Nanz Company offers a selection of door han-
dles and knobs іп many styles, materials and finishes.

Vintage Woodworks
903-356-2158; Fax: 903-356-3023
www.vintagewoodworks.com
Quinlan, TX 75474

Manufacturer & supplier of Victorian
millwork: wood porch parts, turned &
sawn balusters, posts, railings, brackets,
corbels, custom-length spandrels,
screen/storm doors, window caps, wood
shingles & more; cellular PVC profiles.
Write in No. 1061

HARDWARE

Weston Millwork Co.
816-640-5555; Fax: 816-386-5555
www.westonmillwork.com

Weston, MO 64098

Custom fabricator of wood doors &
windows: sash & door-frame components
& complete units; storms & screens; his-

torical reproductions & exact replicas;
millwork; cornice moldings.
Write in No. 1316

This French door unit with transom was fabricated by
Weston Millwork.

|

WRITE IN NO. 196

66 CLEM LABINE'S TRADITIONAL BUILDING

Wiemann Ironworks fabricated these Art Deco bronze
door panels,

Wiemann Ironworks

918-592-1700; Fax: 918-592-2385
www.wiemanniron.com

Tulsa, OK 74104

Designer, fabricator, finisher & installer of
custom ornamental metalwork: capitals,
railings, fences, gates, balustrades, lighting,
grilles, furniture, doors & more; cast &
wrought metal alloys, finishes & architec-
tural styles; since 1940.

Write in No. 1223

Wood Window Workshop
800-724-3081; Fax: 315-733-0933
www.woodwindowworkshop.com
Utica, NY 13501

Custom fabricator of wood windows,
doors, storms & screens: any size, shape &

species; full mortise-&-tenon construc-
tion, true-divided lite, hard-to-find
hardware & restoration & insulated
glass; factory finishes; reproductions.
Write in No. 9640

Woodstone Co., The
802-722-9217; Fax: 802-722-9528
www.woodstone.com

Westminister, УТ 05158

Custom fabricator, distributor & supplier
of doors, windows & shutters: paneled
doors & complete entryways; storm &
screen doors; screen windows; most wood
species; coped mortise-&-tenon joinery;
historical & landmark specifications.

Write in No. 8430

Doors in panel and glass combinations from
Woodstone can be surrounded with a custom-designed
architectural trim package.

HAMILTON
SIN KEE R

ARCHITECTURAL HARDWARE FOR
THE THOUGHTFULLY CURATED HOME

866.900.3326

info@hamiltonsinkler.com

www.hamiltonsinkler.com

WRITE IN NO. 1947

www.traditional-building.com

1231 Paraiso Ave. 4 San Pedro, CA 907 31 810- 518-58: 32 Fax: 310-548-6740 www.coppawoodworking.com

WRITE IN NO. 9600

XKRIETZNIETI
HRKNWRKE
COMPANY

[he premier manufacturer
of hand hammered copper
hardware introduces
a new line of custom
wood lighting
iand selected hardwoods

| pem
with hand craft

made trom

660.376.2481
fax 660.376.4076
craftsmenhardware.com
craftsm@shighway.com

WRITE IN NO. 6980

WRITE IN NO. 2636

68 CLEM LABINE’S TRADITIONAL BUILDING

FREE 1

11888

РО Box 39
Quinlan, TX

Architectural Details

* Guaranteed!

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VINTAGE WOODWORKS

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75474-0039

www.vintagewoodworks.com © сууу»
WRITE IN МО. 1061

=

WESTON

SASH ano DOORS то ORDER

Specializing in millwork constructed
exactly as your original

722 WASHINGTON STREET WESTON, MO 64098
TEL. (816) 640-5555 FAX: (816) 386-5555
E-MAIL:INFO@WESTONMILLWORK.COM

VISIT OUR WEBSITE AT WESTONMILLWORK.COM

MILLWORK ©

WRITE IN NO. 1316

contractors
building owners
facilities managers
interior designers
developers
landscape architects
building managers
preservation planners
restoration consultants

what you need to know

traditional-building

architects

WWW.

Сот

Designers and fabricators
of classic doors of distinction.
Telephone 610-756-6187

WWW.HISTORICDOORS.COM

historic doors

FINE CRAFTSMANSHIP IN WOODWORKING

WRITE IN NO. 3570

"When contacting companies you've seen in ^
the issue, please tell them you saw their
listing in. Traditional Building.

C 22.

B
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www.traditional-building.com

[NANZ|

VISIT OUR WEBSITE AT
WWW.NANZ.COM

Traditional
Shutter Hardware

damesPeleis& Son, 5
ARONA

1936 North Front Street Phjladetobis, dp Rus
Phone: 215-739-9500 Fax: 215-7

Sold through hardware "ጋመ
ALD aaah kê ‹ ‹‹ መ

WRITE ІМ МО. 1240

ОСЕ BRIGHTEST IDEAS
ARE NOTHING NEW.

Authentic period
hardware and
lighting for

your home.

Expert
assistance
for your
peace of
mind.

Discounts and Special Project Support
for Trade Professionals

www.HOAH.us (888) 265-1038

WRITE IN NO. 319

www.traditional-building.com

መ

% NOTTING HILL

GRABILL

WINDOWS & DOORS

Built With Integrity...Built to Last

Bri inging Traditional Crafismanship
into the 21st Century.

Traditional, Contemporary
& European Designed
Custom Windows & Doors

Mahogany ° Teak * * Cypress
Oak * Cedar * Pine

Douslas Fir e Reclaimed W lood
Br ronze or Aluminum С а

Superior Detailing - Quality Materials

Double Hung/Weight & Pulley,
Casement, Tilt Turn Windows.
Lift & Slide and Bi-Fold Doors

Email tgrabill@grabillwindow.com

www.grabillwindow.com

(810) 798-2817

lls MI / Photo - George Dzahristos.

DesRosiers Architects, Bloo

THUMBLATCH Patent pending. All rights reserved © 2005 Club Baltica UAB

DECORATIVE HARDWARE

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www.nottinghill-usa.com
262-248-8890

БОХ ОКЫ ISITE
HANDCRAFTED

ኮ4፡.፻ፐ.ፐፕ11 5

baltica

AUTHORIZED
SHOWROOMS
NATIONWIDE

for details call
(866) 537-2568
www.baltica.com

WRITE IN NO. 411

CLEM LABINE’S TRADITIONAL BUILDING 69

SOURCELIST

Windows & Window Hardware

To order product literature, go to www.traditional-building.com and click on “Free

Product Literature” or fill out the card at page 34.To order literature from all of the

companies listed here, enter No. 9824.

Allied Window, Inc.
800-445-5411; Fax: 513-559-1883
www.alliedwindow.com

Cincinnati, OH 45241

Manufacturer & installer of ‘invisible’
storm windows: custom colors, shapes &
glazing materials; aluminum; protection
from UV & vandalism; interior & exterior;
commercial & residential applications.
Write in No. 690

«ул

St. Williams Church in Cincinnati, OH, used Allied
Windows Allied One Lite AOL A tempered storm

windows to protect this multifoil window.

Architectural Iron Co.
800-442-4766; Fax: 570-296-4766
www.architecturaliron.com

Milford, PA 18337

Manufacturer of historical wrought- &
cast-iron items: columns, benches, fences,
gates, cresting, cast-iron window sash
weights & more; restoration & custom
casting; foundry & blacksmithing; field
removal & installation services.

Write in No. 1504

Ball & Ball Hardware
610-363-7330; Fax: 610-363-7669
www.ballandball.com

Exton, PA 19341

Custom manufacturer & supplier of
ornamental metalwork & hardware: door,
window, shutter, gate & furniture hard-
ware; fireplace tools; wrought iron, steel,
aluminum, bronze, brass, copper & cast
iron; custom reproductions.

Write in No. 2930

Baltica

866-830-9174; Fax: 310-349-3443
www.baltica.com

Vilnius, Lithuania LT 01129

Manufacturer of handcrafted, European-
made door, window & cabinet hard-
ware: cremone bolts, doorknobs &
knockers, hinges, lever handles, push
plates & more; Gothic & Baroque;
showrooms worldwide.

Write in No. 411

Coppa Woodworking
310-548-4142; Fax: 310-548-6740
www.coppawoodworking.com

San Pedro, CA 90731

Manufacturer of wood screen doors &
storm doors: more than 300 styles; pine,
Douglas fir, oak, mahogany, cedar, knotty
alder & redwood; any size; many options;
arch & roundtop, double, French doors,
doggie doors, window screens & more.
Write in No. 9600

Craftsmen Hardware Co.
660-376-2481; Fax: 660-376-4076
www.craftsmenhardware.com
Marceline, MO 64658

Supplier of Arts & Crafts-style hardware:
door, window, cabinet & drapery hard-
ware; grilles; hand-hammered copper;
interior & exterior lighting; pendants,
sconces, chandeliers, lanterns, table lamps
& switch plates.

Write in No. 6980

Crown City Hardware Co.
626-794-1188; Fax: 626-794-2064
www.crowncityhardware.com
Pasadena, CA 91104

Supplier of hardware: casement fasteners
& adjusters; sash locks, lifts, balances &
weights; screen fasteners & hangers; glass
knobs, bin pulls, switch plates & more;
iron, brass, glass & crystal;Victorian &
Arts & Crafts styles.

Write in No. 432

This Boston window lock was fabricated by Crown
City Hardware.

E.R. Butler & Co.
212-925-3565; Fax: 212-925-3305
www.erbutler.com

New York, NY 10012

Manufacturer of historically accurate,
premium -quality hardware for doors,
windows & furniture: brass, bronze, nick-
el, silver & wrought iron; complete
design selections of Early American peri-
od hardware; many finishes.

Write in No. 2260

Grabill Windows & Doors
810-798-2817; Fax: 810-798-2809
www.grabillwindow.com

Almont, MI 48003

Custom manufacturer of solid-wood,
bronze & aluminum-clad windows &
doors: lift & slide doors, casements, tilt-turn,
European in-swing & historically accurate
double-hung windows with weights &
pulleys; residential & commercial.

Write in No. 1910

70 CLEM LABINE'S TRADITIONAL BUILDING

This custom bronze-clad tilt-and-turn window was

fabricated by Grabill; it has an antiqued patina and

an aged-wood interior.

Guerin, P.E.

212-243-5270; Fax: 212-727-2290
www.peguerin.com

New York, NY 10014

Manufacturer of high-end handcrafted
brass & bronze hardware & accessories:
for doors, windows, furniture, shutters,
objets d'art & bathroom accessories;
handcrafted sconces & lighting fixtures.
Write in No. 1166

Historic Doors

610-756-6187; Fax: 610-756-6171
www.historicdoors.com

Kempton, PA 19529

Custom fabricator of wood windows &
doors: casing; circular & crown moldings;
complete entryways; wood storefronts;
restoration & period-style construction.
Write in No. 3570

Historic Doors fabricated this wood entryway fanlite.

Historical Arts & Casting, Inc.
800-225-1414; Fax: 801-280-2493
www.historicalarts.com

West Jordan, UT 84088

Designer & custom fabricator of orna-
mental metalwork: doors, windows, hard-
ware, stairs, balustrades, registers, fences,
lighting, gutters, columns, weathervanes,
planters & more; iron, bronze, aluminum
& steel; restoration services.

Write in No. 1210

Historical Arts & Casting restored and re-installed the
cast-iron windows of this building in New York City.

House of Antique Hardware
888-265-1038; Fax: 503-233-1312
www.houseofantiquehardware.com
Portland, OR 97232

Manufacturer & supplier of vintage
reproduction door, window, cabinet &
furniture hardware & accessories: Federal,
Victorian, Colonial Revival, Craftsman &
Deco styles; push-button switches &
plates; registers & grilles.

Write in No. 1096

Innerglass Window Systems
800-743-6207; Fax: 860-651-4789
www.stormwindows.com

Simsbury, CT 06070

Custom manufacturer of glass interior

storm windows for energy conservation
& sound-proofing: automatically conforms
to Opening, compensating for out-of-square
conditions; no sub-frame needed; all glaz-
ing options.

Write in No. 909

Glass interior storm windows from Innerglass comple-
ment historic windows.

Kayne & Son Custom Hardware
828-667-8868; Fax: 828-665-8303
www.customforgedhardware.com
Candler, NC 28715

Manufacturer of forged- & cast-metal
hardware: strap, H, HL, butterfly & butt
hinges; thumb-latch locksets, gate hard-
ware, shutter dogs & more; fireplace
tools; bathroom accessories & kitchen
equipment; restoration; catalog $5.

Call for more information.

Marvin Windows and Doors
888-537-7828; Fax: 651-452-3074
www.marvin.com

Warroad, MN 56763

Manufacturer of wood windows & doors:
clad & clad-wood; solid wood entry doors;
special shapes; custom sizes & more than
11,000 standard sizes; historical replicas;
interior & exterior storm windows.

Write in No. 1263

Designed for superior
performance against air,
water and structural
infiltration, Ultimate
Double Hung Mangum
Round Top windows
are available from
Marvin in a variety of
large sizes and shapes.

www.traditional-building.com

人

%

ШИШИ?

d d tiny community of Jackson occupies

a significant place on the Minnesota
map, with an entire downtown district on
the National Registry of Historic Places.
The crown jewel is the 1908 Jackson
County Courthouse, an impressive
Neoclassical construction of Bedford
limestone. After almost a century of use,
every magnificent detail had been
restored to its original glory, down to the

worn-out, inefficient windows. The

detailed lite pattern in the courthouse's
| dome windows were replicated perfectly

to fulfill the National Registry criteria. In

By the book.

The 3-by-3 diamond lite cut is
uncommon; Marvin's Simulated
Divided Lite with spacer bar solution
is equally unique

There's only one way to replace the windows on a historic courthouse:

addition, the town was thrilled to find a
lower-maintenance solution for the 101
massive double hung windows. With a
custom Simulated Divided Lite solution
that incorporated a spacer bar for
historical accuracy and low-maintenance
extruded aluminum cladding, the new
Marvin windows ensure that the
courthouse will perform its civic duty for

generations to come.

MARVIN%

Windows and Doors

Built around you:

| For a free Marvin Windows and Doors brochure, please visit www.marvin.com or call 1-888-553-9988.

©2007 Marvin Windows and Doors. All rights reserved. ®Registered trademark of Marvin Windows and Doors

n ee ee ee

WRITE IN NO. 1263 FOR WINDOWS & NO. 1907 FOR DOORS

ааа

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CLEM LABINE'S TRADITIONAL BUILDING 71

SPECIAL REPORT Interior Lighting

Eternal Light

Original Victorian-era lighting fixtures
were restored and replicated for an
historic synagogue in New York City.

By Lynne Lavelle
ike most major ports of entry in the 19th and early 20th
centuries, New York City’s architectural and cultural maps
were drawn by the immigration boom. More than 12 mil-
lion people passed through the city’s immigration hub, Ellis
Island, between 1892 and 1954. While some were destined for else-
where — more than 40 percent of the U.S. population can trace its
ancestry through the facility — a great many people of Irish, Italian,
Eastern European and Asian origin went no further than the New
York area, and formed communities that endure to this day.

More than 60,000 immigrant Jews, mainly from Eastern
Europe, settled in New York City’s Lower East Side between 1880
and 1890; by 1910, the Jewish population had grown to approxi-
mately half a million, outnumbering Chicago, IL (100,000), and
even Vienna, Austria (175,000). Around 60 synagogues served the
Lower East Side at the close of the 19th century, acting also as
makeshift mutual aid societies and social clubs. They were, for the
most part, architecturally unremarkable. However, with its 70-ft.-
high vaulted ceiling, stained-glass rose windows, elaborate lighting
and hand-stenciled walls, the synagogue at 12 Eldridge Street
(1887) symbolized the religious freedom and economic opportu-
nity the new arrivals had come in search of.

Designed by Peter and Francis Herter, the Eldridge Street
Synagogue was well attended until the mid-1920s, when mem-
bership and finances began to dwindle. Congregants drifted to
other parts of the city, and were not easily replenished as immi-
gration quotas stemmed the flow of new arrivals. Those who
remained were weakened by the Great Depression, so contribu-
tions fell. As a consequence, the main sanctuary gradually fell out
of use, and was cordoned off by the congregation in 1955 (it
moved to a small chapel downstairs).

The sanctuary remained empty for the next 25 years, and by
the 1970s, had fallen into severe disrepair. At this time a local
group, Friends of the Eldridge Street Synagogue (a predecessor of
the Eldridge Street Project), began to raise funds and seek
Landmark designation for its restoration. The effort led to the
emergency stabilization of the exterior in 1984, but the interior
damage — a collapsed internal staircase, old electrical wiring,
extensive water damage, damaged artwork, lighting fixtures and
woodwork — remained, and was worsening by the day due to the
failing historic slate roof.

In 1990, Jill H. Gotthelf (then of Robert E. Meadows PC
Architects) drew up a restoration master plan to address these and
other issues at Eldridge Street. It became the blueprint for an 18-
year, $20 million restoration, which was completed in December of last year. The
project progressed as funds became available, but took off after 2000 when Walter
Sedovic Architects (WSA) — where Gotthelf is an associate — became involved. Its
work included the facade restoration, accessibility and MEP upgrades, the devel-
opment of programming spaces for the history and interpretive center, and the
interior finishes restoration. (See Traditional Building, December 2006, page 28.)

Most of the existing fixtures had suffered extensive corrosion caused by water damage (as
shown here), and the by-products of gas combustion, which had turned the metals black and
green. Photo: Aurora Lampworks

80 CLEM LABINE’S TRADITIONAL BUILDING

As part of an 18-year, $20 million restoration at New York City’s Eldridge Street Synagogue, Aurora Lampworks
restored the sanctuary’s lighting fixtures, and fabricated replicas including the eternal light and “crown and bas-
ket” wall sconces. Photo: Kate Miford

As Gotthelf explains, the focus was on celebrating, not erasing, the synagogue’s
past. ^We developed ап over-arching philosophy of authenticity for the project,”
she says. “From the ruts in the floor where the congregation shuffled during
prayer, right down to the paintwork and the lighting, the patina of time was left
in place wherever possible. We didn’t want to lose the story.”

The final phase of the restoration concerned the sanctuary’ Victorian-era
light fixtures, many of which had almost disintegrated due to corrosion caused by
the chemical by-products of the 247 gas jets. То make matters worse, many of the
lights had also sustained water damage from leaks in the roof and skylight. Some,
including the eternal light and “crown and basket” wall sconces had gone missing
over the years. WSA worked with Aurora Lampworks, Inc. of Brooklyn, NY, who
acted as consultants to develop detailed specifications for the restoration of the
diverse and unique fixtures, including the 75-light “grand chandelier.”

After means, methods and samples had been approved by WSA, Aurora’s in-
house team of blacksmiths, glassmakers, technicians, metal fabricators and finish-
ers, decorative painters and conservators began the restoration process. Each and
every fixture, its components, placement and story was considered relevant and
highly valued. The ethos was clear: reuse existing parts wherever possible.

According to Dawn Ladd, principal of Aurora Lampworks, the company and
the project were a good match. “Aurora’s core is about restoration, and the heart
of restoration and conservation is reuse,” she says. “Additionally, the size and the
scope of the project was a good fit for us. As we are a small company, every staff
person got a sense of ownership for their part of the project and consequently, for
the project as a whole. Although other projects were still going on, the company
was focused on Eldridge Street with a team spirit that would inevitably show up
in the quality of the work.”

The fragility of the fixtures posed a challenge, but Aurora’s artisans experimented
with a number of cleaning methods to reveal the original materials without mak-
ing the fixtures look brand new. Where metal was missing, the material was

www.traditional-buiiding.com

Aurora carefully removed the corrosion, matched missing metal pieces, then brushed and refinished each fixture. Photos: Aurora Lampworks

matched with similar vintage metal, soldered in, patinated, ምኞ
coated with a tinted lacquer and then waxed. “Хе didn't want
to remove the character along with the corrosion,” says Ladd.
“Our work was another chapter in the synagogue’s story, not
a revision. In fact, we left the arms on the grand chandelier
upside down. We knew that they had faced up originally
because they were gas burning, but they had been turned
down when the building was electrified, presumably to better
light the congregation. We decided not to reverse them.”
Only one of 18 original “crown and basket" sconces
remained, so the project was expanded to include the replications
needed. After exhausting all 21st century techniques, the arti-
sans found that there was no substitute for the old-world chas-
ing and repousse process — the method by which the sconces
had originally been made. A metal spinning is made in the
desired shape, into which a clay-like substance “pitch” — heated
to a molten state — is poured (it looks much like pouring a
batch of brownies). After several hours, the substance hardens,
and the artisan gets to work on the piercing and embossing
with specially made chisels and tools. “АП of this is extremely
labor-intensive, yet rewarding for the artisan,” says Ladd.
Replicating the eternal light required some guesswork, as
the original piece was missing. Fortunately, Aurora was able to

determine its design and dimensions from old photographs.
After WSA and the Eldridge Street Project had approved a
mock-up, the griffin head was carved in clay then cast in
bronze. In keeping with the ethos of reuse, and for symbolical
and sentimental reasons, the basket from the only original
“crown and basket” fixture was incorporated into the new
eternal light.

Without compromising appearance or historic integrity,
Aurora brought all of the lighting up to code - every fixture
carries a UL label. Tiny flat junction boxes are hidden within
each column fixture, thus eradicating the need for junction
boxes within the columns themselves. New wires pass through
old gas keys, preserving the original look and intent.

After much consideration, a clear 75-watt lamp was cho-
sen for most fixtures. It is rated for a lamp-life of 5,000 hours,
and is the lamp that the historic etched green glass shades were
designed around. Because the fixtures are on a dimmer, they
re-create the soft warm glow of gaslight, but can switch to pre-
set egress lighting levels in the event of an emergency. This
solution avoids typical approaches such as adding auxiliary fix-
tures within the historic space.

The Eldridge Street Synagogue was rededicated in
December of 2007, 120 years after it first opened its doors. The
congregation, which has never missed a Shabbat since the
building was constructed, is now able to worship and spend
time in the sanctuary. And for visitors of all faiths, the building
is now a New York City Landmark, which through its cultur-
al and educational programs, and regular tours, welcomes up to
20,000 visitors annually. It is, in the words of the Eldridge
Street Project, a place for “historical reflection, aesthetic inspi-
ration and spiritual renewal." For more information, please visit
www.eldridgestreet.org or www.auroralampworks.com. ra

To replicate the remaining “crown and basket" fixture, Aurora used an
old-world chasing and repousse process: a clay-like substance called
"pitch" was used to make a mold, then artisans created the delicate
piercings and embossed patterns by hand. Photos: Aurora Lampworks

www.traditional-building.com

CLEM LABINE’S TRADITIONAL BUILDING 81

SOURCELIST

Interior Lighting

To order product literature, go to www.traditional-building.com and click on “Free
Product Literature" or fill out the card at page 34. To order literature from all of the

companies listed here, enter No. 9829.

AAMSCO Lighting, Inc.
843-218-0000; Fax: 843-278-0001
www.ferrowatt.com

Summerville, SC 29483

Manufacturer of Ferrowatt-brand Edison-
reproduction light bulbs: early carbon,
1910 Mazda tungsten & other models.
Write in No. 2240

This authentic repli-
ca 1900 light bulb
from AAMSCO
Lighting runs at 30
watts and provides
8-candle luminosity.

Al Bar-Wilmette Platers
847-251-0187; Fax: 847-251-0281
www.albarwilmette.com

Wilmette, IL 60091

Restorer of lighting fixtures & antique
hardware: period crystal & metal light
fixtures; bronze, brass, copper, nickel,
pewter, gold, silver & chrome; matching
of existing hardware in restoration proj-
ects; will match any finish.

Write in No. 2636

This chandelier was restored by Al Bar-Wilmette.

Authentic Designs
800-844-9416; Fax: 802-394-2422
www.authenticdesigns.com

West Rupert, УТ 05776

Manufacturer of historical lighting fix-
tures: chandeliers, lanterns, sconces &
table lamps; brass, copper, terne &
Vermont maple; Early American &
Colonial; CUL/UL listed for wet &
damp locations; library binder $15.
Write in No. 60

Authentic Designs manufactured this three-candle elec-
tric lighting fixture.

Cardine Studios
540-439-6460; Fax: 540-439-6462
www.cardinestudios.com

Bealeton, VA 22712

Designer & fabricator of hand-forged
metalwork: furnishings, pot racks, light-
ing, fireplace, gates, door hardware,
straight & curved railings, panels & balus-
ters; iron, bronze, copper, aluminum &
stainless; national market.

Write in No. 1867

Cardine Studios fabricated this period-style lantern.

Classic Accents, Inc.
800-245-7742; Fax: 734-284-7185
www.classicaccents.net

Southgate, МІ 48195

Manufacturer of reproduction push-but-
ton light switches: cover plates in 28 fin-
ishes & styles; molding hooks, tassel kits
& picture cord.

Write in No. 4850

The Early
American switch
plate from Classic
Accents is available
in either stained or
unstained oak.

Cole & Co., C.W.

626-443-2473; Fax: 626-443-9253
www.colelighting.com

South El Monte, CA 91733

Manufacturer of specialty & custom
lighting fixtures: interior church lighting;
landscape lighting & steplights; fencing;

antique refurbishments; for commercial &

institutional use.
Write in No. 488

Lighting for the City Hall Annex project in
Honolulu, HI, was refurbished by C. W. Cole; the
renovations consist of 18- and 30-in. chandeliers and
a matching 18-in. surface-mounted ceiling fixture.

82 CLEM LABINE’S TRADITIONAL BUILDING

Coppersmythe, Josiah R.
508-432-8590; Fax: 508-432-8587
www.jrcoppersmythe.com

Harwich, MA 02645

Supplier of handcrafted Early American
& Arts & Crafts reproduction lighting
fixtures: lanterns, chandeliers, sconces &
post lights; copper, brass, tin, wrought
iron & wood; catalog $3.

Call for more information.

Wall sconces such as this model #100 are available

from Josiah R. Coppersmythe in many Early

American styles.

Craftsmen Hardware Co.
660-376-2481; Fax: 660-376-4076
www.craftsmenhardware.com
Marceline, MO 64658

Supplier of Arts & Crafts-style hardware:
door, window, cabinet & drapery hard-
ware; grilles; hand-hammered copper;
interior & exterior lighting; pendants,
sconces, chandeliers, lanterns, table lamps
& switch plates.

Write in No. 6980

Craftsmen
Hardware fab-
ricated this
five-lantern
chandelier.

Crenshaw Lighting

540-745-3900; Fax: 540-745-3911
www.crenshawlighting.com

Floyd, VA 24091

Manufacturer of decorative lighting fix-
tures: period & custom designs; histori-
cal restoration & reproduction; lighting
for worship.

Write in No. 313

Crenshaw Lighting manufactured this replication fix-
ture for the Pennsylvania State Capitol.

Crown City Hardware Co.
626-794-1188; Fax: 626-794-2064
www.crowncityhardware.com
Pasadena, CA 91104

Supplier of hardware: casement fasteners
& adjusters; sash locks, lifts, balances &
weights; screen fasteners & hangers; glass
knobs, bin pulls, switch plates & more;
iron, brass, glass & crystal;Victorian &
Arts & Crafts styles.

Write in No. 432

Deep Landing Workshop
877-778-4042; Fax: 410-778-4070
www.deeplandingworkshop.com
Chestertown, MD 21620

Manufacturer of custom lighting fixtures:
chandeliers, sconces, pendants & lanterns;
new designs, historic reproductions & cus-
tom work; handcrafted in wood, tin, brass
or copper; glass, mica or alabaster shades.
Write in No. 809

The model #C-200 double-cone chande ier from
Deep Landing Workshop has а 14-in.-tall center.

Federalist, The

203-625-4727; Fax: 203-629-8775
www.thefederalistonline.com
Greenwich, CT 06830

Manufacturer & supplier of Early
American lighting fixtures: chandeliers,
sconces, lanterns, bell-jar fixtures, table
& floor lamps; exterior lanterns; antique,
historic reproductions & custom light-
ing; electric & gas.

This 18th-century Massachusetts-style wood and metal
20-light two-tier chandelier with a leaf design is part of
The Federalist handmade reproduction collection.

Fine Architectural Metalsmiths
845-651-7550; Fax: 845-651-7857
www.iceforge.com

Chester, NY 10918

Designer & custom fabricator of orna-
mental metalwork: period-appropriate
motifs; custom lighting; curved, straight
& monumental stairs; driveway & garden
gates; grilles; hand forged & wrought
iron, bronze & aluminum.

Write in No. 2640

Fine Architectural
Metalsmiths custom fabri-
cates chandeliers, sconces
and lanterns.

www.traditional-building.com

FOR ARCHITECTS ‘DESIGNERS ‘CONTRACTORS

INNOVATION OR REPLICATION-

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SISTERS OF ST. JOSEPH CARONDELET
т ST. LOUIS, MO

=- ARCHITECT: TRIVERS ASSOCIATES; BRUCE CAPELLE
Laboratories In. LIGHTING CONSULTANT: MARY JO WARD
HISTORICAL LIGHTING CONSULTANT: GARY H. BEHM, IES

801 North Skinker Boulevard, St.Louis, MO 63130 Phone:(314)863-1414 FAX: (314)863-6702
Email: slaco@slalco.com
WRITE IN NO. 6190

SOURCELIST

Tile Roofing

[o order product literature, go to www.traditional-building.com and click on
“рр

Free Product Literature’ or fill out the card at pag

all of tl ну aiec heted here ет Мо 9824
all of the companies listed here, enter INO. 76254.

f

Hendricks Tile

804-231-0100; Fax: 866-727-1519
www.hendrickstile.com

Ashland, VA 23005

Manufacturer of flat concrete shingle tile:
various colors & textures; can be cus-
tomized to resemble wood, slate & other
materials; gutter hangers.

Write in No. 6340

Ludowici Roof Tile, Inc.
800-945-8453; Fax: 740-342-5175
www.ludowici.com

New Lexington, OH 43764

Manufacturer of clay tile roofing: many
patterns, finishes & colors; Imperial
ceramic slate tile; good freeze/thaw
properties; low moisture absorption; 75-
year limited warranty; restoration & new
construction.

Write in No. 2760

Nicholson & Galloway
516-671-3900; Fax: 516-759-3569

Vande Hey Raleigh Mfg.
800-236-8453; Fax: 920-766-0776
www.vrmtile.com

Little Chute, WI 54140

Manufacturer of architectural concrete &
slate roofing tile: 9 styles, 20 standard col-
ors & unlimited color combinations; trim
flashing, snowguards, copper gutters,
cupolas & weathervanes; restoration &
new construction.

Write in No. 2840

www.nicholsonandgalloway.com

Glen Head, NY 11545

Full-service exterior & historic facade
restoration contractor: flat, slate, tile &
metal roofing; brick, stone, concrete
restoration; СЕКС, GFRP, cast stone &
metal reproductions.

Write in No. 3067

: ይይይ“ ሪያድ ይታ ауға
ARIE ROR BR ERD ER ER EAREKE:
RAK SREP PPLE SL A ESS:

e| DP BR: FLERE
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NIKO Contracting Co., Inc.
412-687-1517; Fax: 412-687-7969
www.nikocontracting.com

Pittsburgh, PA 15213

Custom fabricator & contractor of sheet
metal & roofing: slate, tile & other roof-
ing; storefronts, cornices, cupolas, domes,
steeples, snowguards & leader heads; cop-
per, lead-coated copper, zinc & stainless
steel; metal ceilings.

Write in No. 8300

Vande Hey Raleigh supplied the Spanish tile for
this building on the Wisconsin Lutheran College
campus.

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dat e ይ ዳቃ)

i b n BERR:

iB E AL AURA
ሪይሪይይይያታራያሪሪይይ

Berea Temple in Baltimore, MD.

Boston Valley Terra Cotta ፈይይወወይይይ ይይ ይልይ'ይይዩ SESS
888-214-3655; Fax: 716-649-7688 22. RA 和 вава
www.bostonvalley.com

Orchard Park, NY 14127

Supplier of architectural terra-cotta prod-
ucts: roof tile & Terraclad; columns, capi-
tals, cornices, balustrades, garden sculpture
& chimneys; standard & custom shapes &
colors; replacements & new designs.

Write in No. 160

Ludowici supplied the clay-tile roofing for this historic
building.

目 HendricksTie LRADITIONAL
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98 CLEM LABINE’S TRADITIONAL BUILDING

www.traditional-building.com

West Lafayette Library, West Lafayette, IN Photography: © 2008 Brett Drury

Boston Valley Terra Cotta

The nation’s most specialized Architectural Terra Cotta manufacturer.
Our team of artisans, engineers and craftsmen are committed to detailed craftsmanship,
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quality and service in replication, restoration and new design of architectural terra cotta,

clay roof tile and TerraClad™ Rainscreen System.©

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6860 South Abbott Rd., Orchard Park, New York 14127 716.649.7490 888.214.3655

Fax: 716.649.7688 www.bostonvalley.com
WRITE IN NO. 160

SOURCELIST

Slate Roofing

To order product literature, go to www.traditional-building.com and click on
“Free Product Literature" or fill out the card at page 34. To order literature from
all of the companies listed here, enter No. 9833.

For this building, American Slate Co. used its Strata
Grey roofing tile, model #RHC 107.
American Slate Co.

800-553-5611; Fax: 925-977-4885
www.americanslate.com

Walnut Creek, CA 94596

Supplier of slate roofing tile & flooring:
16- & 24-in. sizes; colors ranging from

Baltimore, Warehouse/Showroom
Vermont Products

three eas
to access hu

the fastest way
to get supplier catalogs

This issue's *Free Product Literature" Form is now online.
Literature requests are e-mailed directly to advertisers for fastest action.
To use this online service:

grays & greens to black, purple & multi-
colors; other sizes & graduated roofing
on request; thickness up to 1'/s in. in
some colors; slate flooring.

Write in No. 2723

Nicholson & Galloway
516-671-3900; Fax: 516-759-3569
www.nicholsonandgalloway.com

Glen Head, NY 11545

Full-service exterior & historic facade
restoration contractor: flat, slate, tile &
metal roofing; brick, stone, concrete
restoration; СЕКС, GFRP, cast stone &
metal reproductions.

Write in No. 3067

866.206.9524
518-642-1748

t Invent
. Flooring

Nicholson & Galloway restored the roof of this his-
toric building, providing the carpentry, coppersmithing,
slating, waterproofing and masonry restoration.

NIKO Contracting Co., Inc.
412-687-1517; Fax: 412-687-7969
www.nikocontracting.com

Pittsburgh, PA 15213

Custom fabricator & contractor of sheet
metal & roofing: slate, tile & other roof-

WRITE IN NO. 2723

102 CLEM LABINE’S TRADITIONAL BUILDING

* Log onto www.traditional-building.com
。 Click on “Free Product Literature”
e Select “Issue Product Literature Card”

5р5 suppliers ч a
Traditional-Building.com

ing; storefronts, cornices, cupolas, domes,
steeples, snowguards & leader heads; cop-
per, lead-coated copper, zinc & stainless
steel; metal ceilings.

Write in No. 8300

Vande Hey Raleigh Mfg.
800-236-8453; Fax: 920-766-0776
www.vrmtile.com

Little Chute, WI 54140

Manufacturer of architectural concrete &
slate roofing tile: 9 styles, 20 standard col-
ors & unlimited color combinations; trim
flashing, snowguards, copper gutters,
cupolas & weathervanes; restoration &
new construction.

Write in No. 2840

American Slate Company
www.americanslate.com

www.traditional-building.com

SPECIAL REPORT Domes

Tiffany on High

A masterpiece at the Chicago Cultural Center
has been restored.

By Neal Vogel

hicago is home to many spectacular late 19th and early 20th century

interiors that influenced the decorative arts throughout the country.

Designed and produced by Chicagoans, many of these interiors are off

the beaten path and out of public view. However, near the heart of the
Loop sits one of the most accessible and finest examples of American decorative
arts, created by a collaboration of Bostonians, Chicagoans and New Yorkers. This
is no “Second City” interior — it’s world class, and it’s open to the public year
around at the Chicago Cultural Center.

Designed by Charles Coolidge of Shepley, Rutan & Coolidge (Boston), the
Cultural Center was originally designed to house two entities, the Chicago Public
Library in the south wing, and a memorial hall for the Grand Army of the
Republic in the north. The building was commissioned and designed in the heat
of planning and showcasing Chicago’s 1893 Columbian Exposition to the world,
and it was heavily influenced by the architects and decorative artists involved.

The Chicago Public Library opened in 1897 to considerable fanfare and the
Delivery Room and ancillary spaces decorated by Tiffany Glass & Decorating
Company were praised for their timeless beauty - many design elements were
freely adopted from the firm’s Exposition chapel. The art glass was housed in a cast-
iron dome fabricated by Chicago Ornamental Iron embellished with bead & reel,
acanthus leafs and egg & dart motifs. As noted by Department of Cultural Affairs
Historian, Tim Samuelson, “The building successfully bridged the ongoing debate
between people who advocated looking to the past for artistic inspiration and those
who sought a dynamic expression of contemporary design, technology and craft.”

Largest Tiffany Commission

The interior represents Tiffany’s largest commission in nearly 50 years of produc-
tion and includes: the largest Tiffany dome (measuring 38 ft. in diameter); the most
extensive use of Tiffany mosaics (more than 10,000 sq.ft. adorn the walls); and the
earliest known examples of Tiffany’s copper-foiled chandeliers, pre-dating the com-
pany’s patent for the process. Copper-foiled lamps would soon become Tiffany's
greatest commercial success, contributing immensely to his world renown and
establishing his reputation as America’s most accomplished decorative artist.

The art-glass dome contains hand-rippled glass and plating (multiple layers of
glass) — a Tiffany trademark. There are approximately 30,000 pieces of glass in 243
“sections” covering more than 1,000 sq.ft. Repetitive fish-scale panels below the
oculus are studded with 5,568 sparkling chipped-glass jewels that are copper foiled
atop ruby-red backplates and soldered into the matrix. The leading was entirely
floated with solder, indicative of the company’s impeccable craftsmanship.

In hindsight, it boggles the mind that this building barely escaped rooftop addi-
tions and the wrecking ball over the years. Restoring the grandeur to this fabulous

www.traditional-building.com

interior — dubbed Preston Bradley Hall when the library vacated in the 1970s and
the building was converted into the Chicago Cultural Center — was a preserva-
tionist’s dream.

Until recently, the giant Tiffany dome hovering over the south wing sat list-
less and washed out under high intensity discharge lighting that was installed in
the interstitial space between the interior art-glass dome and the exterior diffus-
ing skylight. Its inherent beauty was further diminished by several repair and
remodeling campaigns. In 1935, the original diffusing skylight above the art-glass
dome was replaced with a precast concrete and copper roof, eliminating all day-
light. Subsequent decorating projects resulted in damaged decorative finishes on
the ornamental cast-iron and plaster cornice beneath the dome and over-painting
with dull bronze paint. Original uplighting concealed on top of the cornice, and
accent lighting in large plaster rosettes beneath the cornice, were abandoned.

The art glass was in a sad state of repair. Most of the repairs were completed
in-situ, which contributed to their poor execution. Approximately 1,700 cracked
pieces, 220 Dutchman-lead repairs and 250 replacement pieces were found in the
art glass throughout the dome; much of the damage was caused by years of light-
ing maintenance in the interstitial space. The art glass replacements were poorly
executed with bad matches that were too dense and lifeless compared to the orig-
inal art glass. (Interestingly, Tiffany “phased” the art glass from relatively dense at the
top of the dome, to more translucent at the bottom. This helped achieve a uniform
appearance in the deep lightwell.) Approximately two-thirds of the retainer clips
were missing and many art-glass panels were loosely held in place by gravity alone.

The Hellenistic zodiac in the oculus is an ancient symbol of navigation and exploration.
Hovering over the original library Delivery Room, it represents the pursuit of knowledge in
books. Photo: Patrick L. Pyszka, courtesy of the City of Chicago.

Top: Preston Bradley Hall’s art-glass dome, photographed in early morning light, is rarely seen
this blue by the public. Photo: Patrick L. Pyszka, courtesy of the City of Chicago.

CLEM LABINE’S TRADITIONAL BUILDING 103

2497 * a
47 5 < г;

Above: This is the Preston Bradley Hall dome as it appeared with metal halide backlighting,

installed in the 1970s. Photo: Neal A. Vogel, Restoric, LLC

Right: The original Delivery Room (as it appeared in 1897) where library attendants delivered
books from the closed stacks behind; the beautiful mosaic tile floor is no longer intact and is
covered by carpeting today. Photo: Special Collections & Preservation: Harold Washington
Library Center, City of Chicago

The glass was filthy with a century of dust, oily grime, paint drips and paint over-
spray from work on the diffusing skylight.

Perhaps the most interesting project discovery was that all of the art-glass pan-
els below the oculus, approximately 90 percent of the dome, were flipped over in
their openings with the texture of the ripple glass and chipped jewels facing up.
Why the art glass was inverted remains a mystery; possibly to counteract deflection
(i.e. “bellying” or sagging), or to create a more “modern” look by flipping the
smooth face to the viewer. This probably occurred when the diffusing skylight was
covered іп 1935 — when streamlined modernity was in vogue. Regardless, when
the diffusing skylight was removed, the sparkling daylight filtering through the
jewels was rendered obsolete.

The chief goals of the restoration campaign were to: 1) restore daylight to the
art glass and interior; 2) eliminate artificial light in the interstitial space between the
inner and outer domes; 3) restore the damaged art glass and decorative finishes; and
4) install new lighting to provide optional scenes for evening programs.

To this end, the center oculus of the dome and central chandelier were
restored in 2005. A temporary diffusing skylight was installed over the oculus and
partial daylight was restored for the first time in 70 years — this inspired the restora-
tion of daylight to the entire dome.

Several alternatives were considered to construct a new diffusing skylight on
the roof: a) re-setting glass into the original steel frame; b) piggy-backing а new
aluminum skylight on top of the original frame; and c) building a much larger sky-
light over the entire lightwell.

The client ultimately decided to piggy-back the new skylight, installing insu-
lated glass units along with a cupola ventilator in the spirit of the original design.
Original cast iron radiators, HVAC ductwork and artificial lighting that cluttered
the interstitial space and caused shadows were removed. New catwalks and chick-
en ladders were installed to facilitate inspections and maintenance. New hydronic
heating was installed to condition the space and melt snow off the skylight. LED
lighting was installed in lieu of the original carbon filament incandescent lighting
on top of the interior plaster cornice (uplighting the cast-iron frame). The skylight
and LEDs substantially reduce the need for incandescent lighting and contribute a
"green" aspect to the project. (The 36 carbon filament lights restored in the rosettes
are only used intermittently.)

The art glass was completely removed for restoration and temporary faux art-glass
graphics mounted on Lexan were installed in its place. The art glass was completely
disassembled and re-leaded with new reinforcement. Custom glass was produced to
match missing glass and replace previous poor replacements. The saddle bars were
re-installed in their original location while new fins were introduced to the top-
side, bent to conform to the existing lead lines and remain imperceptible from
underneath. The original stacked perimeter leads were replaced with monolithic
leads and reinforced with a steel bar for better purchase under the retainer clips.
The art glass was naturally reinstalled in its original position with the rippled glass
and chipped jewels facing the interior and viewer.

The art glass commissioned for the dome was designed to coordinate with the
interior decoration. The frame color, natural light and artificial light created the
best context for both the art-glass and cast-iron dome. This symbiotic relationship
was lost over the years by the elimination of daylight and cornice lighting, and
damage to the gilded finish.

As with all projects of this scale, many restoration contractors and professionals were
integral to its ultimate success including: Archistoric Products, LLC (chandelier restora-
tion); Botti Studio of Architectural Arts, Inc. (art glass restoration); DesignLab— Chicago
(lighting design); EverGreene Painting Studios, Inc. (decorative finishes); Historic
Surfaces, LLC (paint analysis & gilding); Holabird & Root, LLC (architectural design &
engineering); Kokomo Opalescent Art Glass Company (custom art glass manufacture);
Prime Scaffolding, Inc. (scaffolding); Primera, Inc. (electrical and mechanical design);
Restoric, LLC (art glass, finishes and historical consulting); Supersky, Inc. (skylight)
Wardell Art Glass Company (chandelier shades); Wight Construction, Inc. (general con-
tractor), Wiring, Inc. (electrical) and many other subcontractors and individuals too
numerous to mention.

104 CLEM LABINE' S TRADITIONAL BUILDING

The decorative finishes on the underside of the cast-iron dome were damaged
by aggressive cleaning campaigns and corrosion of the cast-iron frame. The origi-
nal specifications mentioned many layers of spar varnish along with gold and alu-
minum leaf. However, microscopic investigation of the dome revealed that the
actual finishes deviated from these historic specifications. Instead, glazed finishes of
aniline dyes were employed over aluminum leaf. No evidence of gold leaf was
found but experts indicate that aluminum leaf was more novel and expensive than

gold leaf in the 1890s.

Surrounding Ornamentation

Just as the art glass had become muted and lifeless, so had the surrounding orna-
mentation and finish of the frame, detracting from the overall effect. Re-gilding
the ornamental cast iron with aluminum leaf and glazed finishes helped re-capture

The precast concrete installed in 1935 is removed from the original 1897 steel frame; what
appears to be art glass below the workers is actually a graphic reproduction on Lexan. Photo:
Neal A. Vogel, Restoric, LLC

Insulated glass units weighing several hundred pounds were set with a crane. Photo: Elizabeth
Blaisius

www.traditional-building.com

The new custom fabricated SuperSky diffusing skylight features a custom finish to mimic the
original copper verdigris patina and a cupola designed in the spirit of the original skylight.
Photo: Elizabeth Blaisius

the original luster and restore the dual personality of the dome. In strong sunlight,
the vibrant gilt bolsters the structural elements. At night, the glass silhouettes when
the modern exterior lighting is dimmed or turned off, allowing the frame to
become the dominant architectural feature. Restoration of the plaster cornice was
added late in the project but provided the crucial link between the dome and glass
mosaics adorning the walls.

Today, the restored Preston Bradley Hall is among Chicago’s most significant
architectural treasures and glistens for all who venture inside. Since the restoration,
visitation is up nearly 30 percent for a building that serves nearly 800,000 visitors
annually, and weekend tours have swelled three-fold. Moreover, concert audiences
are now reveling to the sounds of The Chicago Chamber Musicians under an ever-
changing array of opalescent glass and gilded aluminum leaf lit by natural daylight.
Sunshine, storms and cloud cover are perceived inside, establishing an existential
connection with the world outside.

The project was completed for approximately $2.2 million and received an
award for preservation excellence from the Chicago Landmarks Commission. If
Chicago is your destination, and you love traditional buildings and the decorative
arts, Preston Bradley Hall’s Tiffany dome should not be missed. Also be sure to
venture into the north wing to see the other fine dome in the Grand Army of the

The gleaming cornice rosettes and relief were added late in the project, bridging the beauti-
ful mosaics adorning the walls and art glass above. The full inscription reads, “Books are the
legacies that a great genius leaves to mankind which are delivered down from generation to

generation as presents to the posterity of those who are yet unborn.” Photo: Patrick L. Pyszka,
courtesy of the City of Chicago

This restored Tiffany chandelier was installed a few months after the library opened and repre-
sents the earliest known installation of copper-foiled Tiffany lamps. Photo: Patrick L. Pyszka,
courtesy of the City of Chicago.

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Each art-glass panel was carefully aligned during installation to register the leaded glass with
adjacent panels. Photo: Elizabeth Blaisius

Republic Hall by Healy & Millet. The oculus and partial daylight were also
restored here in 2005 and the City of Chicago is planning to restore this interior
in 2010.

The Department of Cultural Affairs and Department of General Services staff
provided the daily on-site guidance, vision and decision making to see this proj-
ect to fruition and restore the grandeur of Preston Bradley Hall for generations to
come. For further information, visit www.chicagoculturalcenter.org. TB

Neal Vogel is the principal of Restoric, LLC, a restoration consulting and contracting business
specializing in historic churches, synagogues, civic and institutional buildings. He teaches
restoration classes for The School of the Art Institute, Northwestern University’s School of
Continuing Studies and The Illinois Institute of Art in Chicago and has authored numer-
ous technical articles on building restoration for the National Park Service, Old House
Journal and Traditional Building.

== / оаа 全 ҮҮ ҮЛ ዘኔ ራሙ መጨ

СІ.ЕМ LABINE’S TRADITIONAL BUILDING 105

SOURCELIST

Steeples, Domes & Cupolas

To order product literature, go to www.traditional-building.com and click on

“Free Product Literature” or fill out the card at page 34.To order literature from
all of the companies listed here, enter No. 9835.

Campbellsville Industries, Inc.
800-467-8135; Fax: 270-465-6839
www.cvilleindustries.com
Campbelisville, KY 42718

Manufacturer & installer of architectural
metalwork: steeples, columns, cupolas, street
clocks, railings, balustrades, finials, domes,
weathervanes & louvers; aluminum, copper,
zinc & lead-coated copper.

Write in No. 2730

DE < ПЕ.
This steeple was prefabricated and installed Бу Campbells-
ville Industries on a church in Nashville, TN.

EJMcopper, Inc.

407-447-0074; Fax: 407-447-0075
www.ejmcopper.com

Orlando, FL 32804

Custom fabricator of copper products:
cupolas, dormers, weathervanes, finials,
vents, kitchen hoods, awnings, chimney
caps & more.

Write in No. 1377

The Lancut copper finial is available from EJMcopper
in four sizes, ranging from 24 to 72 in. tall.

Fiberglass Specialties, Inc.
800-527-1459; Fax: 903-657-2318
www.fsiweb.com

Henderson, IX 75653

Manufacturer of FRP steeples, domes,
cupolas, columns, railings & baptismal
pools: dozens of stock designs plus modi-
fications, replication & custom solutions;
architect on staff to assist with design.
Write in No. 7310

Heather & Little Limited
800-450-0659; Fax: 905-475-9764
www.heatherandlittle.com

Markham, ON, Canada L3R OH1

Fabricator & supplier of historical sheet-
metal roofing & specialty architectural
sheet metal: finials, cornices, leader heads,
cresting, metal shingles, siding, cupolas,
steeples, domes, reproductions; Kalemein
& lot-line windows.

Write in No. 2470

Heather & Little restored the copper dome roof for
Our Lady of Lourdes Church in Toronto, Canada.

Michigan Ornamental Metals
201-945-4930; Fax: 201-945-4931
www.michiganornamental.com
Ridgefield, NJ 07657

Custom fabricator of metal ornament:
columns, capitals, rosettes, wreaths, cor-
nices & ceilings; cupolas, domes, gutters,
finials, leaders & leader boxes; stamped &
pressed sheet metal; replications & his-
toric reproductions.

Write in No. 9520

Munns Mfg., Inc.
435-257-5673; Fax: 435-257-3842
www.munnsmfg.com

Garland, UT 84312

Manufacturer of aluminum steeples, pin-
nacles, spires, cupolas, weathervanes &
towers: variety of styles & designs; custom
copper & aluminum dormers.

Write in No. 1356

106 CLEM LABINE'S TRADITIONAL BUILDING

Munns creates aluminum steeples, pinnacles, spires,
cupolas and towers in a variety of styles.

New Concept Louvers Inc.
800-635-6448; Fax: 801-489-0606
www.newconceptlouvers.com

Springville, UT 84663

Manufacturer of cupolas & louvers:
maintenance-free coated-aluminum in
custom & stock sizes; 450 colors; copper
finials, weathervanes, spires, turret caps,
copper accessories, dormer vents, mail-
boxes, shutters, flashing & more.

Write in No. 1264

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Aluminum апа copper cupolas from New Concept
Louvers are offered in more than 450 colors; they are
pre-cut to fit any roof pitch.

Nicholson & Galloway
516-671-3900; Fax: 516-759-3569
www.nicholsonandgalloway.com

Glen Head, NY 11545

Full-service exterior & historic facade
restoration contractor: flat, slate, tile &
metal roofing; brick, stone, concrete
restoration; GFR C, GFRP, cast stone &
metal reproductions.

Write in No. 3067

NIKO Contracting Co., Inc.
412-687-1517; Fax: 412-687-7969
www.nikocontracting.com

Pittsburgh, PA 15213

Custom fabricator & contractor of sheet
metal & roofing: slate, tile & other roof-
ing; storefronts, cornices, cupolas, domes,
steeples, snowguards & leader heads; cop-
per, lead-coated copper, zinc & stainless
steel; metal ceilings.

Write in No. 8300

NIKO Contracting crafted this 37-in.-tall copper cupo-
la, available with or without the eagle weathervane.

Ornametals, LLC
256-350-7410; Fax: 256-309-5921
www.ornametals.com

Decatur, AL 35601

Fabricator & distributor of metal roofing
& roof ornament: finials, cupolas, crosses,
weathervanes, gutters, leader boxes &
more; exterior balustrades & cornices;
copper & zinc.

Write in No. 5025

Seal Reinforced Fiberglass, Inc.
631-842-2230; Fax: 631-842-2276
www.sealfiberglass.com

Copiague, NY 11726

Supplier of FRP building components:
cornices, cupolas, columns, balustrades,
brackets, planters, urns, water features &
garden ornament; full-service mold &
tool fabricator; on-site molds.

Write in No. 1353

Cupolas are one of the specialties of Seal Reinforced
Fiberglass.

www.traditional-building.com

Custom Ornamental Metalwork

Michigan Ornamental Metals
1033 Slocum Avenue
Ridgefield, NJ 07657
Tel 201-945-4930 Fax 201-945-4931

www.michiganornamental.com

WRITE IN NO. 9520

Maintenance-Free Aluminum
Cupolas & Louvers!

Stock & custom cupolas from New
Concept Louvers are wrapped with
PVC coated aluminum and copper.
Made from the same materials as
our custom louvers, they never
require painting like wood prod-
ucts. They arrive in three easy to
install pieces pre-cut to fit any roof
pitch, and can be ordered in stock
sizes or to custom specifications.
Over 400 colors are available, as
well as many different weather
vanes and accessories.

www.NewConceptLouvers.com
Tel. 1.800.635-6448

Chimney Caps
Dormer Vents
leader Heads
Rain Chains
Weathervanes
Finials
Cupolas
Louvers

www.EJMcopper.com

WRITE IN NO.1377

www.traditional-building.com

www.traditional-building.com

PROJECT PROFILE

CONGREGATIONAL CHURCH
WESTBOROUGH, MASSACHUSETTS

Built in 1834, the historic Congregational Church in Westborough was
thoroughly renovated in the early 1990’s. Fiberglass Specialties was chosen
to fabricate the spire, top cupola, and eight urns. The shingle effect on the
spire and the simulated wood siding of the cupola are in fact molded into
the fiberglass laminate. And since the white color is an integral part of the
laminate, eliminating the need for scraping and repainting, the church will
save on maintenance costs in the future.

FIBERGLASS
SPECIALTIES
INCORPORATED

“Manufacturers of Quality Architectural Fiberglass Products”

POST OFFICE BOX 1340 % HENDERSON, TEXAS 75653
1-800-527-1459 FAX: 903-657-2318

WRITE IN NO. 7310

без! Reinforced

Fiberglass, Inc.

19 Bethpage Кд.
Copiague, NY 11726

631-842-2230
5 Ғах: 631-842-2276
www.sealfiberglass.com
Architectural
Restoration
Custom Molding
of Every Type

‘Brackets “Согпісев
‘Railings — *Balusters
‘Columns *Pilasters
‘Terra Cotta Reproductions

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WRITE ІМ МО. 4620 FOR CORNICES % 1353 FOR CUPOLAS

CLEM LABINE'S TRADITIONAL BUILDING 107

SOURCELIST

Wood Carving

Го order product literature, go to www.traditional-building.com and click on
“Free Product Literature "or fill out bé rd at page 34. To order literature from

all of the companies listed here, enter Мо. 9839.

1.800.COLUMNS & millwork, columns, capitals, wrought-

800-265-8667; Fax: 910-763-3191
www.columns.com

Wilmington, NC 28401

Catalog distributor of fine architectural
products: Chadsworth Columns,
Hartmann-Sanders Authentic
Architectural Columns, PolyStone
Columns, PolyStone Balustrade Series
& Classic Pergolas; job-site delivery.
Write in No. 180

iron components, balustrading, door
hardware, lighting, ceiling tile, furniture
& cabinet components & more.

Write in No. 1088

This Mizrah wall plaque was hand-carved by
Deborah Mills in mahogany.

Deborah Mills Woodcarving
646-288-7497; No fax
www.deborahmillswoodcarving.com
Brooklyn, NY 11222

Custom wood carver & sculptor: one-of-
a-kind hand-carved liturgical, architec-
tural & decorative elements; torah arks,
ecclesiastical furnishings, commemorative
plaques, Judaica, doors, screens, mantels,
paneling, friezes & more.

This hand-carved and -finished solid-mahogany fire-
place surround is available from Outwater.
Architectural Products by
Outwater, LLC

800-835-4400; Fax: 800-835-4403
www.outwater.com

Bogota, NJ 07603

Manufacturer of 65,000+ decorative
building products: architectural moldings

Heartwood Carving
541-868-0666; Fax: 541-683-5219
Eugene, OR 97402
www.heartwoodcarving.com

moldings & other specialty carvings; vari-
ety of wood species.
Write in No. 7380

Wood carver: ornamental carving & archi-
tectural details; all types of relief wood
carving, hand & machine; murals, cabinetry,
doors & more; multiples & landscapes a
specialty; 25 years of experience.

Write in No. 1952

Hand-carved architectural elements are the specialty of
Frederick Wilbur — Woodcarver.

Wilbur, Frederick - Woodcarver
434-263-4827; Fax: 434-263-5958
www.frederickwilbur-woodcarver.com
Lovingston, VA 22949

Wood carver: ecclesiastical elements,
Gothic tracery, reredos & wood screens;
columns, furniture, mantels, casing/mold-
ing, friezes, rosettes, heraldry, signage &
doors; all wood species; original designs;
reproductions.

Write in No. 1650

This detail of an elaborate table demonstrates the
wood-carving skill of Dimitrios Klitsas.

Klitsas, Dimitrios - Fine Wood
Sculptor

413-566-5301; Fax: 413-566-5307
www.klitsas.com

Hampden, MA 01036

Wood carver: capitals, newel posts, furni-
ture (all periods), fireplace mantels, stairs,

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114 CLEM LABINE'S TRADITIONAL BUILDING

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www.traditional-building.com CLEM LABINE’S TRADITIONAL BUILDING 115

BOOK REVIEW

The Stone Age

Stone Conservation Principles and Practice
edited by Alison Henry

Donhead Publishing, Ltd., Shaftesbury, UK; 2006
352 pp; hardcover; 122 b&w photographs; $84
ISBN 978-1-873394-78-6

Reviewed by Raymond M. Pepi

uildings constructed with natural stone are subject to the relentless

forces of environmental decay and weathering. It is shocking to witness

the rate of stone decay and the devastating alterations to beloved mon-

uments, especially outdoor statuary. The common public perception is
that acid rain is the main culprit, but the real story is much more complex and
nuanced, depending on chemical composition, geologic DNA, exposure, architec-
tural detailing and maintenance.

The process of treating stone and halting or reversing the decay process is the
subject of an important new book: Stone Conservation, Principles and Practice. This 14-
chapter compendium by various experts, mostly from the UK, emerged out of an
annual Stone Conservation course at the University of York. I think it is fair to say
that it represents current attitudes and accepted practices in the United States as well
as the UK. It is, on balance, a book aimed at conservators, architects, curators and
contractors, but could be enjoyed by an interested general audience as well.

Consisting of a broad range of technical subjects, it is, with minor exceptions,
more descriptive than analytical. The chapters about decay mechanisms contain по
chemical formulas or quantitative measures, except for mentioning the chemical
names of crusts and by-products. The passages describing chemical cleaners do not
explain their basic properties or
why they work or don't.
Whether this is a shortcoming
depends upon your point of
view. It could be argued that a
deeper understanding of the
underlying processes would bet-
ter inform those responsible for
deciding upon a treatment, but
this does not take away from the
overall value of the book and
should not dissuade anyone from
reading it.

It will be observed that the
term "restoration" is not used in
the title. Professionals are careful
about the term because it is often
misleading and does not ade-
quately capture the current atti-
tude towards the preservation of
historic buildings. Perhaps the
main reason for this sensitivity is a
well-documented record of de-
struction in the name of restora-
tion. The informative chapter by
Michael Drury titled “Restoration
Versus Conservation” is a discus-
sion that charts the philosophical
evolution of the restoration and
conservation field in the UK and,
for example, the inherent conflicts
facing professionals deciding upon
a treatment for stones that are sim-
ply beyond saving.

Taken to the extreme does
stone replacement qualify as a
conservation treatment or is it an
admission of defeat? Does replace-
ment represent a loss of authentic-
ity and the fruitless effort to return
a building to some earlier appear-
ance, negating the process of aging
and cumulative alteration? As you
might expect there is no simple
answer. He repeats John Ruskin’s
famous invocation:

“But, it is said, there may
come a necessity for restoration!
Granted. Look the necessity in
the face, and understand it on its
own terms. It is a necessity for
destruction. Accept it as such, pull

the building down, throw its stones | to good effect.

116 CLEM LABINE’S TRADITIONAL BUILDING

At Wells Cathedral in Somerset, England, the stone figure on the right was consolidated with lime solution

into neglected corners, make ballast of them, or mortar, if you will; but do it honestly,
and do not set up a lie in their place.”

Ruskin was a theorist and did not practice himself; can you imagine the earnest
architect delivering such drastic news to the unfortunate owner of a decaying build-
ing? However, Ruskin also pronounced the central manifesto of conservation in
The Seven Lamps of Architecture, published in 1849:

“Take proper care of your monuments, and you will not need to restore them.
Watch an old building with an anxious care; count its stone as you would the jew-
els of a crown...do this tenderly, reverently, continually and many generations will
be born to pass away beneath its shadow.”

Drury makes the important distinction between restoration that is, on the one
hand, based on documentation or sound evidence and, on the other, conjecture.
The latter approach inflamed Ruskin: “Do not let us talk then of restoration. ..the
thing is a lie from beginning to end.” Conservation as it is practiced today aims for
scientific documentation of the fabric to avoid any conjecture.

To fully appreciate the scope of this book it is helpful to know more about
trends in the field. Although architects, scientists and artisans have been tradition-
ally involved, architectural conservators are often responsible for making the many
decisions regarding treatments. Conservators usually have graduate-level training in
the science of historic building materials. They are committed individuals who
advocate for the building fabric. Their tools are an interdisciplinary mix of geolo-
gy, chemistry, physics, engineering, architecture, art history, contracting practice,
stone carving, stone setting, rigging, waterproofing and more. Their working
method is to review previous alterations and treatments, carefully document build-
ing conditions (stone-by-stone), test the performance characteristics of stone in the
laboratory and in the field and then draw conclusions and recommendations based
on this research.

А program of test treat-
ments and full-scale mockups to
test their decisions often follows
this protocol. The time and
expense required to carry out
this level of investigation is often
beyond the resources of the
project or owner, but it must be
advocated, whenever possible, to
responsibly plan and specify
treatments that won't inflict
even more damage to fragile
materials. Conservators аге
aware of the fact that, historical-
ly, much damage has resulted
from well-intentioned treat-
ments. Therefore the
Directive” of conservators is to
select treatments that аге
reversible or sacrificial.

This means that, for exam-
ple, if a cement-based shelter
coating is applied to failing stone
it should be softer than the stone
itself or capable of being
removed if it is not performing
as desired or if some future treat-
ment has been found to take its
place. Both the selection of the
treatment and the ability to
remove it are non-trivial matters
that sometimes defy best efforts.

The chapter on the “The
Role of Archeology” by Jerry
Sampson reviews the process of
collecting information about

“Prime

existing conditions. He describes
the method of manually record-
ing conditions on a drawing.
Doing this manually certainly
has its place, especially for small
buildings. However there is no
mention of the latest trend in the
use of handheld personal digital
assistants (PDA), mapping pro-
grams or electronic databases
linked to CADD drawings.
These new technologies are
especially applicable for large
buildings. They allow for greater
portability, flexibility and manip-
ulation of the data that can be
organized or sorted by any

www.traditional-building.com

BOOK REVIEW

Houses of God

Harris’s Guide to Churches & Cathedrals

by Brian L. Harris

Ebury Publishing, London, UK; 2006

512 pp; hardcover; 131 color images, 54 b&w; $45
ISBN 0091912512

Reviewed by Nicole V. Gagné

66 have been researching and visiting churches for over 50 years,” Brian L.
Harris announces in the introduction to Harriss Guide to Churches &
Cathedrals. But even the most superficial glance at this 500-plus-page
tome makes that statement seem almost superhuman: Ап ordinary person

would have to spend closer to 100 years researching and visiting churches in order
to write this exhaustive study! However he was able to compile it, Harris has com-
pleted one of the most thorough, useful and flat-out interesting accounts of this
essential — and all too frequently overlooked — aspect of English history, culture and
architecture. Whether you're engaged in historical research or whether you need
an authoritative guidebook to take on your UK vacation, you will be continuous-
ly thumbing through it.

Harris’s Guide offers insightful write-ups of over 500 churches and cathedrals
in England and Wales, paying attention to their most unique and unusual features.
Harris has organized his book alphabetically by city, from Abbotsham in Devon —
where the backs of some of the pews in St. Helen have brass plates from the 18th
century, “each differently engraved, indicating where people from every house and
farm in the parish should sit” — to Zennor in Cornwall, with its 15th-century
bench-end carving of a mermaid with a mirror and a comb - “а very rare depic-
tion for a bench-end.” There’s also a “County By County Gazeteer” that
organizes the lists of cities by their counties, and an index listing all the
churches alphabetically by name.

Of course Harris pays special attention to the great houses of worship. More
than five pages are devoted to London’s mighty Westminster Abbey, the UK’s sec-
ond-largest church. (Did you know that its north transept has a wooden model of
the central tower and steeple that had been proposed for the abbey by Sir
Christopher Wren but were never built?) York’s Minister and Cathedral Church of
St. Peter also gets several pages, but how many other sources would point out that
it’s “the only church in the UK that is allowed to use mistletoe in its Christmas
decorations"?

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At 140 ft high, Norwich Cathedral's central tower is the highest Norman tower іп
England. The cathedral's 315-ft. spire is equally noteworthy (and topped only by the
404-ft. spire of Salisbury Cathedral in Wiltshire). The cloisters of Norwich Cathedral are
the only two-story monastic cloisters in England; in the south ambulatory is a stone effi-
gy thought to represent Norwich Cathedral's founder, Bishop Herbert de Losinga -“dat-
ing from c. 1100, it is England's oldest Christian effigy,” notes Brian L. Harris.

www.traditional-building.com

Holy Trinity Church in Blyburgh, Suffolk, dates from 1442. With its three-dozen clerestory win-
dows and a relatively small amount of stained glass, this beloved “Cathedral of the Marshes”
maintains an interior rich with light. Note the flock of angels under the nave roof. Brian L.
Harris' book describes how these sculptures were “damaged in 1664 by Cromwell's soldiers,
who used the angels’ wings for target practice! New ones were added іп 1954. The roof
retains much of its original coloring.”

That detail is typical of Harris’ keen eye, and he’s most observant in his entries
on the smaller churches. They’re the heart and soul of Harris’s Guide, the places
that, over the decades or the centuries, have drawn the faithful, not the tourists. It’s
in those write-ups that Harris’ expertise and his love for his subject really shine.

St. Nicholas Church in Moreton, Dorset, was badly damaged by Nazi bombing
in 1940 and rededicated in 1950; its cemetery is the final resting place of Colonel
TE. Lawrence, better known as “Lawrence of Arabia.” St. Michael Church in East Coker,
Somerset, was immortalized in the poetry of TS. Eliot; the north door, built in the mid-14th
century, still has its original lock in working order. St. Olaf in Wasdale Head, Cumbria, nested
in the heart of the Lake District, is one of the smallest English churches, measuring some 40
ft. long by 17 ft. wide; one of its windows features a stained-glass lozenge about four inches
square with an inscription from Psalm 121 —“supposedly the smallest inscribed glass win-
dow in England.”

Harriss Guide also includes sidebar pages examining neglected aspects of church design
and appointment.A survey of Stores About Medieval Brass Lecterns” notes the fate of sev-
eral lecterns that had to be hidden away during England’s 17 由 -century Civil War.
Tributes to sculptors John Bushnell (1630-1701) and Bertel Thorvaldsen (1770-
1844) trace the surviving examples of their work, both sacred and secular, which
can still be found in England. An appreciation of church clocks combines history
with factoids such as a list of the 22 English churches with one-handed clocks.

There’s a detailed look at fan-vaulting as roof decoration. Even the role of
vamping horns is discussed, although not without some perplexity: “Nobody
knows exactly what vamping horns were used for in churches.” There are also
accounts of stories associated with wooden effigies, the popularity of the Lily
Crucifix, and the importance of bells.

Churches with chapels erected on nearby bridges get their own sidebar, as do
those with thatched roofs; with dovecotes; with medieval stone pulpits; with lead
fonts; with wooden fonts; with fonts of black basalt made by Josiah Wedgewood
(1730-1795), founder of the famed pottery firm; with monumental brasses; with
stained-glass sundials; even with stone boards for playing the two-person game
Nine Men’s Morris (sort of a medieval Chinese Checkers).

“For centuries our parish churches have been an integral part of our nation-
al heritage, and with 16,000 ancient churches to choose from, there are infinite
treasures to see and appreciate.’ That description by Brian L. Harris could also be
applied to his book, insofar as it too overflows with treasures to see and appreci-
ate. So strong is the spell cast by it, that even if you never visit the UK, you will
catch yourself gazing with greater attention and appreciation to the churches in
your vicinity, and feeling grateful to the legions of unknown craftspeople who
labored to erect and appoint them. тв

CLEM LABINE’S TRADITIONAL BUILDING 119

Windows of Wonder

English Stained Glass

by Painton Cowen

Thames & Hudson, Inc., New York, NY; 2008

128 рр; hardcover; 200 color illustrations; $29.95
ISBN 978-0-500-23846-2

Reviewed by Annabel Hsin

ያሚ ome scholars believe that the transition from the small openings of
ቺ Romanesque architecture to the soaring heights of Gothic architecture
እ was driven by the desire to achieve larger stained-glass window panels.
he Despite Gothic architectures bright and airy aesthetic, the stained-glass
windows developed in its early era were dark and the panels were dominated by
figures in deep red and blue colors. By the mid 13th century, a clear or pale green
grisaille glass gained precedent over the deep-colored glass. The grisaille glass was
arranged in geometric patterns and avoided figurative designs. “The Five Sisters”
from с. 1250 in York Minster, England, consists of five huge panels of grisaille glass
in a geometric floral design. Indeed, a majority of the design was assembled using
clear or pale green glass with thin lines of blues or reds to outline the pattern. It is
among many famous panels featured in Painton Cowen’s latest book, English
Stained Glass.

In his introduction, titled “The Art of Light,” Cowen writes, “English stained
glass inhabits a curious position within the study of the visual arts. For many years
seen by scholars as having little artistic value, it tended to be of more interest to
antiquarians who took delight in poring over the heraldry found in so much
English glass.” Yet for countless centuries, stained-glass windows have dazzled us,
and set trends in many artistic areas such as sculpture, painted murals and altarpiece
carvings. Through 200 photographs, most of which are detailed shots of figures in
stained glass, Cowen lets his readers decide whether stained glass should be con-
sidered art or mere decoration.

The characteristics of English stained glass are defined by different regional
schools and Cowen uses these to divide his book into four chapters: “The North,”
“The Midlands,” “East Anglia" and “The South and South-West.’ The introduction
also includes a brief history on the development of stained-glass windows from 1100
to 1530 — the golden age of stained glass. There are also brief sections on window
making, window conservation and the symbols and figures depicted in stained glass.

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This detail from the с. 1250 “Тһе Five Sisters” in York Minster shows а close-up view of some
of the more than 100,000 pieces of glass used to create it. Most of the glass was clear or pale
green to allow more light into the church interior.

Located in the north, York is widely considered the most significant city for stained
glass. Not only were its painters highly influential — elements such as the bulbous nose
were much-copied — but it also had a bearing on glass painters from other regions,
including John Thornton of Coventry who created the famous east window in York
Minster (the world’s largest single expanse of stained glass still in existence).

Construction on the Gothic cathedral York Minster began around the year
1080 and took approximately 250 years to complete. It contains stained glass and
window fragments that date from the early 12th century to the 20th century. The
rose window in the south transept encompasses work from several centuries; the
stonework dates from the mid-13th century; much of the stained glass is from the
16th century; and the glass in the center — William Peckitt’s depiction of a sun-
flower — is from the 18th century.

Also located at York Minster, are the 30 panels depicting the Te Deum, from
c. 1420.They demonstrate an important technique developed during the 14th cen-
tury, when it was discovered that yellow stained glass could be created by simply
painting a silver chemical on the surface of glass and heating it. The colors varied
from pale yellow to deep orange and, when the technique was applied to green
glass, blue. Figures and architectural details in yellow, orange and white were paint-
ed on single pieces of clear glass to create the frame that surrounds the colored-
glass scenes on the panels of Te Deum. A number of panels from other churches
are also housed at York Minister, included the “Tree of Jesse” from New College
Chapel, Oxford. As such, Cowen considers the stained-glass collection at York
Minster the most important in the field.

English Stained Glass is essentially a guide book on where to find the most sig-
nificant stained-glass windows in the featured regions. It is filled with close-up
shots of windows that would certainly be overlooked even by visitors to the
churches (many of the windows are high above ground) and the images are sure
to provide inspiration for ecclesiastical specialists. As noted by Cowen, stained-glass
windows are subject to damage caused by chemical reactions between air, water
and glass. While careful conservation can preserve them, the process is time con-
suming and expensive. English Stained Glass serves as a reminder of why they are
worth it. TB

A unique yellow stained glass technique, which allows for more than one color on a single
piece of glass, was used to create the Virgin's hair, the angel's wings and the thatch of the
roof on this 15th-century panel.

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Urban Development

Building London: The Making of a Modern Metropolis
by Bruce Marshall

Universe Publishing, a division of Rizzoli International
Publications, Inc., New York, NY; 2008

304 pp; hardcover; 350 photographs; $55

ISBN 978-0-7893-1591-5

Reviewed by Will Holloway

an ша he front cover of Bruce Marshall’s Building London:
x The Making of a Modern Metropolis features a 1927
photograph of Christopher Wren's St. Paul's
Cathedral; the back cover shows Foster & Partners'
2004 Swiss Re Headquarters. In between, the 304 pages of
Building London present a rich visual history of the development
of London's built environment, from the royal palaces, church-
es, museums and galleries that define the city’s architectural fab-
ric to the more recent spectacles — such as the Millennium
Dome and the London Eye — that poke out from its skyline.

The roots of modern London extend back to the 17th centu-
ry, when the city was rebuilt after much of what had been con-
structed in the Middle Ages was destroyed in the Great Fire of
1666. As the British architect Ptolemy Dean writes in the
introduction, London “was rebuilt, miraculously, even more
elegantly and crisply in Portland stone by Sir Christopher
Wren and his collaborators. This [...] was, perhaps, the finest
skyline of any city in Europe.”

Jump ahead a few hundred years, and Dean’s view has

changed as much as the city itself. “Now,” he continues, “we
are encouraged to admire the exciting muddle of new high
rise blocks in the City. But London is not New York, and the
scale is wrong and the overall sense of composition has been
lost. While New York can be seen from across the broad East
River, London now overcrowds the Thames. Stand now on
any river bridge and see how the scattering of tall blocks
along the river has destroyed the physical focus that London
once had.|...] New buildings rise up unexpectedly here and
there, like weeds in a lawn, sometimes dramatic and bold, but
more often they are intrusive and discourteous.[...] While
Christopher Wren consciously sought to glorify the city as a
single entity, these new buildings seek to dissolve its bound-
aries, adding new prominence to random locations simply to
inflate the profits of their developers and the reputations of
their designers.”

But Building London is not a debate about architectural
styles; it is a visual representation of the full spectrum — a vir-
tual photographic encyclopedia — of the city’s architectural his-
tory and development. The hundreds of black and white and
contemporary color photographs are augmented with bits and
pieces of background information in chapters arranged
chronologically and by building type — so comprehensive is the
book that sections on pubs, public housing, parks and gardens
and even public toilets are included.

In “Royal Palaces,” Marshall's examination includes the Tower of London,
the Caen-stone fortress built by William the Conqueror in the 11th century;
Buckingham House, which was purchased by George III in 1762 and expand-
ed before becoming Buckingham Palace; and St. James and Hampton Court
palaces. “Places of Worship" stretches all the way from Westminster Abby to the
postwar churches of the 20th century, including the Baitul Futuh Mosque in the
suburb of Morden with its 52-ft.-dia. stainless-steel-clad dome — which, accord-
ing to Marshall, claims to be the largest mosque in western Europe. But when
it comes to churches, the majority of Marshall’s admiration is reserved for Wren:
“From inspiration both godly and worldly, church-building contributed the
city’s greatest glories, most notably the triumphant legacy of Sir Christopher
Wren. Eighty seven churches were lost in the Great Fire of 1666. In 30 years,
Wren rebuilt 51 of them, the crowing achievement being the new St. Paul’s
Cathedral set among the modest dwellings of Ludgate Hill. Financed by a tax
on coal, Wren had first call on the quarries of Portland in Dorset and used 1
million tons of their stone.”

In “Museums and Galleries," Marshall offers these tidbits: “The National
Gallery began in a Pall Mall townhouse with just 54 pictures; now it takes up the
entire north side of Trafalgar Square”; “The National Portrait Gallery’s found-
ing purpose, to display ‘the most Eminent Persons in British History, was first
served by 57 paintings; now it has 10,000 portraits and 500,000 photographs”;

>

London Eye.

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Above: This stone spiral staircase is in the southwest tower of
Christopher Wren's St. Paul's Cathedral, which was built over 40
years following the Great Fire of 1666.

Right: The Jubilee Walkways span the River Thames on either
side of the Hungerford Railway Bridge - and in the shadow of the

and “The new British Library was
looking for overflow space even
before it was opened in 1998; its right
to a copy of every new British publi-
cation requires two additional miles of
shelving each year.”

And near the end of Building
London, Marshall gets to the Millennium
Dome, one of the most controversial
times. “The
impression the Dome gives from a dis-
tance is of some alien spheroid that has
thunderously buried itself in the

structures of recent

unkempt Thames meander,” he writes.
“It is a structure whose strength is
tensile, light enough for gravity not to
be the issue limiting its expanse. But
that it is merely some temporary tent
is an illusion. The Dome is engineered
for a long and active life — if only
someone can devise something worthy
for it to do.” тв

CLEM LABINE’S TRADITIONAL BUILDING 121

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THE FORUM

nA E е SE ር ር SE CLI ERIE LI IEE IEE A

God is in the Details

By Ethan Anthony, AIA

IN THE MEDIEVAL CHURCH AT AMIENS, THE CAPITALS OF THE COLUMNS SHOW PEOPLE IN
scenes from the Bible and in scenes from everyday life. In 12th century stained glass, we see ourselves in the sim-

ple scenes of everyday people gathered together with royalty in adoration of the Magi. Scenes of everyday life incor-

porate the viewer, and God, in the details.

Nine hundred years later, Mies van der Rohe would write;
“God is in the Details” (New York Herald Tribune; June 28, 1959). He
was not referring ironically to Gothic architecture, although it was
one inspiration for the Modernists, and actually featured God pic-
torially and symbolically in the details. He had changed the topic
from an anthropomorphic representation of God to the concept of
God as a material ideal and social statement. The Modernist was
replacing the old God of the Second Dispensation with a new God
of a third dispensation — science.

Now a grassroots movement for traditionally inspired architec-
ture has taken hold in the United States. New building in Gothic,
Romanesque and Classically inspired styles has come to character-
ize the beginning of the second millennium just as the Modernist
movement came to symbolize post-Second World War society.

The essential difference between Modernism and the new tra-
ditionalism is the incorporation of arts and crafts, and through
them, humanity in the architecture. We want to identify with the
buildings of our lives. We come to find God in our religious build-
ings, just as our predecessors did. We seek visual symbols of the God
we know in the details because it is at that level that the building
touches us, far more than the grand gesture — sweeping planes of
glass, steel beams and aluminum struts.

This detail is from the St. John Neumann Catholic Church in Farragut, TN,
designed by HDB/Cram & Ferguson. Photo: HDB/Cram & Ferguson

The Modernist would lead us to a new life through architec-
ture, a brave new world of enlightenment that is materialistic, big,
fast but also built on credit — ecologically and financially bankrupt.
God has become lost in the details. What new world is this? Where
is the place of humanity, the craftsman, everyman and everywoman?
Do we find them in the architecture? Do they have a place or are
they now forgotten in a world of grand gestures?

Modern architecture through mechanization reduces the con-
tribution of individual labor to the lowest possible percentage. It
derives its aesthetic in large part from the machine. Early writers on
Modernist architecture emphasized the importance of removing
the craftsman from the process. The new work would be organized
and routinized, pre-measured and pre-cut to eliminate the crafts-
man and his quirky insistence on contributing his essence. Clean
and removed from the human hand, fussy details would be elimi-
nated and parts standardized like the automobile. But in the process

122 CLEM LABINE’S TRADITIONAL BUILDING

of eliminating the messy errata of the human hand, the Modernist
movement eliminated humanity itself. To paraphrase Charles
Moore in an aside to Richard Meier, “Where does the family keep
the dirty laundry in your houses?”

And the Modernists at first had to rely on the craftsman, in
spite of their pronouncements on the importance of the machine.
As the late Peter Blake documented in his seminal book for the
postmodern movement, Form Follows Fiasco, the parts from which
early Modernist architecture was made, and that were carefully
designed to look machine-produced, in fact were carefully pro-
duced one by one, by craftsmen, by hand.

Of course with time, the Modernist has finally gotten it right.
Now we architects have a full catalog of perfect, truly machine-
made parts at our disposal, from the ready-made window to the
ready-made door. The architect can shop the catalogs for every-
thing needed to complete a project. Where once we made form, we
are now encouraged to assemble it. How can God be found in the
details when design of details is no longer a consequential part of
the design process of the modern building?

Details have been a central part of the traditional architecture
revival from the first. When in 1998 we visualized our first new
Gothic church since World War II, we could not find the parts in any
of our catalogs. Instead it was necessary to make the parts we needed
one by one. Each part had to be designed, as our predecessors had
done, at full size and the necessary craftsman had to be found. A few
of the arts and crafts we needed had been fostered by the historic
restoration movement. But a full renewal required the development
of sufficient demand for new crafted pieces to support the business-
es that would supply them to the architects and builders.

Some craftspeople produced work using traditional methods,
but it was not creative invention, only reproduction of historical rem-
nants. Paolo Soleri in his prescient book, The Bridge Between Spirit and
Matter is Matter Becoming Spirit, envisioned a world where routine
tasks were performed by automated factories, conveniently located
out of view in the lower levels of his imagined worlds, the Arcologies.
On the upper levels, humanity would transform matter into objects
that would contain the unique spirit of their craft creators.

In Soleri’s vision, humanity expresses its spiritual richness
through creating arts and crafts. Expressive hardware figures large as
an example of the incorporation of spirit in matter. And now this
vision is reality in the traditional architecture movement. Handmade
parts, from the stone veneer pieces to the sculpted and mono-cast
capitals, incorporate the craftsperson at every step in our work.

Here the craftsperson has enormous importance. In new tradi-
tional religious architecture, the arts take on an almost equivalent
position with the architecture itself. Through the arts, directly and
indirectly we see both God and humanity in the architecture. New
traditional religious architecture once more incorporates man and
spirit in the arts and crafts that compose it. Whether directly, as
sculpted people in frozen poetic sculptures and mosaics, or indirect-
ly, in the richness of hand-wrought iron gates and carved wood
screens, the spirit is made concrete as Ruskin and Soleri respective-
ly had envisioned.

Craftspeople pour their spiritual and life energy into the objects
they make. The making leaves traces of the maker — the humanity
leaves a record of itself in marks on the object. The result is both
richness of form and completeness of detail. Whether in picture,
sculpture or pure form, God is once more truly in the details. тв

Since 1998, Ethan Anthony, AIA, has served as president and principal of
HDB/Cram & Ferguson, Inc., after maintaining his own practice and
earning his Bachelor of Architecture at the University of Oregon. He has
concentrated on the planning and design of new traditionally styled religious
and academic buildings in addition to restoration of historically significant
buildings. Anthony is an active lecturer and author of The Architecture
of Ralph Adams Cram and his Office, WW. Norton, 2007. (See
Traditional Building, February 2008, page 198.)

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MMMé MM MANA ET TS TT TT ለክ —————

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አችስ

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